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Prince Regent Theatre

Max Littmann

alias Prinzregententheater
history of the theatresupplementtechnical dataHistoric equipment

Important events

(detail)1900 | construction
Built 1900-1901 by Max Littmann with a reformed auditorium with the Bayreuth Festspielhaus serving as its model.
(detail)20.8.1901 | opening
Opened with a performance of Die Meistersinger von Nürnberg by Richard Wagner.
(detail)1945 | fire
Partial destruction by bombs ( foyers )
(detail)1958 | Alteration
Reconstruction of the foyer wing was carried out between 1957-1958.
(detail)80. 's 20. century | Alteration
1984-1987 renovation.

People

(detail)Max Littmann |main architect

German architect, who focused his attention primarily on the construction of representative buildings as theatres, department stores and spa buildings.

More theatres

History

In 1865, Richard Wagner had to flee from Munich, but in 1901 the residents of Munich eventually built the Prince Regent Theatre for the operas he composed. The architect Max Littmann was inspired by Wagner’s festival hall in Bayreuth and gave the theatre a modern look. It now hosts performances, concerts and events of all sorts. Visitors taking a tour through the playhouse will discover the well-preserved historical stage machinery. Littmann’s first theatre, the Kammerspiele, is not far away.



Theaterakademie August Everding im Prinzregententheater • Prinzregentenplatz 12 • 81675 Munich • Germany • +49 (0)89 21 85 29 00 • info[at]theaterakademie.de www.theaterakademie.de

Visits: daily on appointment

Festivals: ballet festival week (April), Munich opera festival (July)

 

 

 


 

 

The exterior is given monumentality in the style of Semper, but the interior is almost a replica of Bayreuth, with plain wooden seats, a single ramp without boxes or galleries, and an invisible orchestra hidden beneath a hood. Oddly enough, it was a minor subsidiary theory of Wagner's which had more influence on theatre architecture than his actual achievements. Opera he considered 'ideal', drama 'real'; opera was for an elite, drama for the people; opera had been evolved by the aristocracy, drama by das Volk. It followed that while opera made manifest 'the unapproachable world of dreams' on a mysterious stage remote from the audience, drama was concerned with real life, and should be projected into the centre of an auditorium, as Shakespeare's plays had been. Littmann attempted to put these ideas into practice in some of his theatres, notably the Kiinstlertheater, Munich, whose bare platform stage was later the setting for exciting experiments by avant-garde designers and producers like Max Reinhardt and Georg Fuchs.

 

In: Tidworth, Simon : Theatres: An Illustrated History. London 1973 p. 175

 

 

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