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German actor, director, playwright. Reformer of the German scene. Supervised the Hamburg National Theater. As an actor famous in the plays of Shakespeare, Moliere, Goethe and others
Friedrich Ludwig Schröder was born on November 3, 1744 in Berlin. His mother, actress Sophie Schröder, after the death of her husband - the Berlin organist, composed Hilferding troupe went on tour in Russia. Three-Year Fritz she took with her. In St. Petersburg he made his debut on the stage - said the baby is only one phrase: "Oh no, you excuse me!", And the audience gave him a generous applause.
In 1749 the troupe Hilferding moved to Moscow. There, on November 24, Sophie Schroeder married Konrad Ackerman, one of the most talented actors and entrepreneurs in Germany. In Moscow, Fritz began to learn.
From Moscow troupe Hilferding returned to St. Petersburg. In seven years, Fritz was a "professional" actor - he always acted in the children′s roles.
In the four years of living in Russia Ackerman couple had saved enough money to create your entreprise.
In 1755, the troupe′s stepfather appears choreographer and drama actor Finzinger - the first and only coach Schroeder′s choreography. His second mentor was an actor and playwright Johann Christian Ast. He taught Fritz Latin, French and wisdom of acting. Significant mark on the fate of Schroeder′s left as the Austrian comedian Joseph Felix Kurz, with colleagues whom he later traveled to Central Europe. He studied the art of improvisation Friedrich.
November 24, 1755 Ackerman opened the theater in Koenigsberg. Obedient parental power, Fritz became a pupil of the local College Friderisiatsum. Schroeder differed diligence. But after the parents went on tour, he was left without a livelihood and soon joined the troupe Ackermann.
Days followed days, the city gave way to the city and suburb - the suburb. By the time Frederick Schroeder played mostly the role of secular young men and servants in comedies. Such images were given to him without much difficulty. Schroeder still considered only the choreography of his true vocation. It will take more than a year before it gave up ballet and devote himself only drama. Meanwhile, Frederick danced, and danced passionately.
In the theater Schroeder looked only in the poetic text in preparation for staging tragedies. As for comedies, then with them things were simpler: just reading the play, Schroeder has played a role, using only improvised. So it was, for example, with Schlegel′s drama "Troyanki", in which 2 January 1761, he played King Pyrrhus.
July 31, 1765 in Hamburg, has opened the theater on Genzemarkt built on funds Ackerman. After the death of his stepfather November 13, 1771 Private Company moved to Frederick. However, even Sophie Schroeder doubted whether the young, preferring the choreography of an actor, a man with a difficult character, head of retired principal.
Since the summer of 1772 Friedrich Ludwig Schröder officially became the second leader of the troupe, taking on the burden of artistic concerns. Sophie continued to manage finances and the economy of the theater.
A curious, thoughtful, Schroeder immediately took up the important - the repertoire of the troupe. He reads a lot, constantly communicating with scientists, lawyers, merchants, people sincerely interested in the success of the fate of his scenes. The Director is not limited to the study of history, literature, languages, music. He was attracted by science, at first glance far removed from the theater: the psychology, mathematics, mechanics, economics.
Schroeder appeals to the creativity of the leading figures of Sturm und Drang. The appearance of plays Sturmer at the Theater at Genzemarkt preceded the premiere of the tragedy Lessing Emilia Galotti "shown May 15, 1772.
The performance was a prelude to the most significant time of creativity Schroeder - leader and mentor of the company, director and actor. It lasted a decade - from 1771 to 1781 - and went down in history as the first enterprise "Schroeder. Activities of the actor precisely these years has created a "golden age" of the German scene XVIII century.
"Emilia Galotti" was a great success. The merit is not only Schroeder-director, and Schroeder-actor, who played chamberlain Marinelli. All the actor′s demeanor was intended to prove the main thing: this seemingly independent, brilliant courtier in fact, a slave, and the only law for him - the will of the lord. Schroeder′s gesture, rhythm and character of its movements to convince at least spoken to them about it.
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Schroeder sought to make a realistic basis, not only in response to their tragic and comic roles, great drama, but possible - Singspiel (musicals). Particularly successful in this sense has played a French comic opera troupe Pierre Monsignore Rose and Cola "in the libretto by Michel Sedena.
In 1774-1778 years Schroeder has shown in a theater play so-called Rhine geniuses - IV Goethe, FM Klinger, JM Lenz and GL Wagner, as well as member of the Commonwealth of Göttingen poets, IA Leyzevitsa.
Schroeder puts "Klavigo Goethe, where he plays Carlos. In the days when the Hamburg scene appeared "well-formed" drama "Klavigo, many of my friends felt sorry for the theater that Schroeder opted not to" Getse von Berlihingene "- a dramatic epic, filled with liberating ideas Sturmer, play the most fully reflect the influence of chronicles of Shakespeare in the works of young Goethe. And glad to learn about the upcoming production of the play they like.
In "Getse Schroder played just two disparate roles - the brother of Martin, whose name and face were a hint of the German Reformation leader Martin Luther, and an honest, direct Reiter Lerze. Both of his way just answered conception of Goethe and there were public.
At this time, Sophie Schroeder increasingly conceived of the need reasonably to marry his son. For anybody not a secret love for a married Frederick actress on Genzemarkt Susanna Mekur. It is not known to have lasted a long time waiting for the widow of Ackerman girl, able to make the happiness of her son, if one day in Hamburg did not appear graceful, blond, blue-eyed Anna Christina Hart, who dreamed of busting your contract.
When Madame Mekur left Hamburg and moved to another theater, held a wedding of Frederick Schroeder and Anna Hart. Mother was not wrong - their marriage was happy. Careful wife and mistress, Anne shared the joys and sorrows of her husband. He often worked with her, was rehearsing the role of responsible and proud of their drop-down loving, docile pupil.
Schroeder from an early age began to act in comedies of Moliere. Now, starting with children and youth roles - Luizon in "Imaginary Invalid," Damis in "Tartuffe," Waller in the "Miserly" - he appeared in the same comedy as a chemist Florent ( "Imaginary Invalid") and servants Cleante, Laflesha ( "miserly"). Later, he will play a central role - Orgon (Tartuffe), Harpagon ( "miserly"), Arnolfo ( "School for Wives") and Argan ( "Imaginary Invalid").
The role of the miserly, performed Aug. 28, 1775, was one of the most significant in the biography of Schroeder. The wisdom and maturity with which the actor was able to write thirty years, this complex character of Moliere′s drama, spoken not only of his great opportunities, but also of uncommon tenacity and boldness that have helped him to successfully address new trade barriers. Harpagon for many years remained in the repertoire of the artist.
Finally the time came, when Schroeder strongly took up Shakespeare′s plays, large-scale canvases that captivates his profound truthfulness, strength events, the wisdom, the complexity of the inner life of heroes.
Premiere was "Hamlet." This production was not only the first appearance of Shakespeare on the Hamburg scene, but the first meeting of the German theater XVIII century with a Shakespearean heritage.
Schroeder subjected drama makeover. He cut a few things in the first acts, shifted a few pictures in some places. Underwent a major redesign as the final play. Initially, Schroeder struck out the role of Laertes. He lowered his graveyard scene in the last act, but two months after the premiere of her back again. He later reinstated and the role of Laertes.
In the summer of 1776 Schroeder mentally gave all the roles. He decided that Brockman will be Hamlet, King Claudius - Reineke, and Ofelia - Dorothea Ackermann. As for the role for himself, then his choice might seem surprising - Schroeder opted Phantom King of Denmark.
The shade of Hamlet′s father, played Schroeder, left stirring, mournful impression. Ghost - Schroeder did not go, he seemed to be floating in the night fog. Kingship high, encased in armor knight, woeful encounter with his son, a terrible story about treachery of Claudius had him the hearts of the audience, solidifying of pity and horror.
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The premiere was a triumph. In the future, every fifth night played "Hamlet" - a rare and exceptional case. The role of the prince brought Brockmann loud acclaim. When in 1778 the actor had left the Hamburg theater, Schroeder began to carry it. Playing Hamlet, he abruptly retreated from manners Brockman. Hero it was active, strong-willed and determined.
Cost Schroeder put "Hamlet", and the tragedy that has attracted huge public interest. Less than five years since the premiere of Hamburg, and the critic wrote about the success of "Hamlet" as "a very striking phenomenon in the German theatrical firmament." "Hamlet fever became rampant. The tragedy was played in towns and villages in luxurious theaters and booths.
After "Hamlet," Schroeder continued to Shakespeare. Two months later, he showed "Othello". Neither the head of the company, nor the actors in a good reception of this tragedy, no doubt. And they were upset fail. Although performance Brockman and Dorothy Ackerman acknowledged the great hall together, and the treacherous Iago - Schroeder remembered for a long time, the performance quickly disappeared from the scene. But their failure did not dampen Schroeder - he stubbornly stuck to the plays of Shakespeare. The second part of 1777 Schroeder spent a Shakespearean comedy. Autumn and early winter, the audience saw one after the other three plays - "The Merchant of Venice", "The Comedy of Errors" and "Measure for Measure." "The Merchant of Venice" was a great success - he played six times in three weeks. Schroeder was Shylock. His rich Jew behaved proudly, with dignity, he was perfectly aware of all the value of their capital. Actor subtly noticed and gave a national character, unique, different from the Italian manner of the merchant.
In 1778 to replace the comedies came tragedy. Schroeder has done a truly gigantic work - he put Shakespeare′s King Lear, " Richard III "and" Henry IV ". Premiers of the most complex performances have shown one after another - in July, November and December.
"King Lear" at the Hamburg scene has undergone great changes. Schroeder many times postponed the premiere, something was finishing, changing scenes, tormented by the decision of its own role - the old king. Lear was probably the best of Shakespearean images Schroeder. For years, the artist loved this job. First appeared in the eve of her thirty-fifth, he never parted with Lear to the end of the artistic path.
The audience and the actors always spoke of his Lear only enthusiastically. So, one day, when Schroeder had already left the scene, FL Schmidt asked Iffland whether Schroeder was so great in this role? "Yes, yes! - Fervently cried Iffland. - It is impossible to describe. This had to see, feel! "
Austrian impresario Carl Meyer wrote: "If I had to specify what distinguishes me from all the Schroeder-known actors, I would answer: loyalty to the judgments, which allowed him to accurately capture the achievable in the poet′s intentions and agree with their forces. He never learn again, but never nedouchival role. He knew the scene and the impression which you can reach her at ... It is wholly owned by his speech, his body and his very impressionable imagination ... "
At first the Berlin tour, which began in 1778, the repertoire of the actor was a significant and varied. In the theater at Berenshtrasse saw his Lear and Hamlet, major in "tutor" Lentz, the father of Rodeo "Grateful son," Engel, also met with the cadet Akerlandom a "rival" Engelbrecht (by Sheridan) and with several roles in comedies. Speeches were held with great success. The role of Hamlet Schroeder performed six times. She, in January 1779 he completed the statement. Challenges and welcoming no end. Schroeder unanimously agreed in Berlin a great artist.
In 1780, he was playing here again, then played in Vienna, Munich, Mannheim and Prague. The results of the tour exceeded all expectations. Actor now knew the true power of their own skills, pass a test in a foreign land.
Subsequently, retiring to rest, and remembering the long years, Schroeder said: "After leaving the scene of Borchers and Reineke, I went to the comic and serious roles of fathers. I was then about thirty years. The roles of these I could. Then I wanted to know not whether I will get approval and outside of Hamburg.
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In March 1781 Schroder closed the theater and the troupe disbanded - it was waiting at the Vienna Burgtheater. The will of Joseph II, Directorate Burgtheater gave him a generous contract.
Spouses Schroeder first played in the Burgtheater April 16, 1781, presented by Albrecht and Agnes, the heroes of the tragedy, IA Turing-Kronsfelda "Agnes Bernauer. The audience took their very cordially.
But in Vienna, Schroeder could not long remain only an actor. Accustomed to the new colleagues and unusual orders of a foreign company, he returned to directing. Next year, three consecutive seasons, the Burgtheater born Shakespearean productions. True, the text of a loose translation of the original, but the Viennese public highly valued Schroeder and gladly attended his performances.
February 5, 1785 Schroeder said goodbye to Burgtheater. He played a dignitary in his Pall′s five-act comedy "turn the page". At the performance attended elite of Vienna. When the performance ended, there was unprecedented: the noble ladies and gentlemen rose to their couches, waiting enthusiastically applauded.
Back in Vienna, Schroeder was thinking about what awaits him in Germany. We had to start all over again. Again, day after day to combine work entrepreneur, a leading actor, director, playwright, and the need - the decorator, property master, costume.
Carefully selecting the troupe, Schroeder began to work with her at first in Altona, then in Lübeck and Hanover. Just making sure that things are going bad, Schroeder returned to Hamburg, where the April 19, 1786 started the way his second non-repertory.
Philistine drama Gemmingen, Iffland, Grossman, Kotzebue, as well as their own play - this is the preferred repertoire Schroeder, his theater during the Second Hamburg non-repertory. Bankruptcy, family adversity, aristocratic dandies seducing gullible burgher girls - these and similar reasons ranged from the play in the play.
But Schroeder is constantly pursued the idea to put "Don Carlos′ Schiller. Afraid of unwanted ideological influence of this drama, the director deliberately cut her. This is undoubtedly distort play. It also completed the strength and orientation of the actor′s performance Schroeder deliberately showed Philip II, the man is not worthy of censure, and sympathy.
Constantly referring to the plays of contemporary playwrights, Schroeder will never forget the classics. And always come back to Moliere. Thus, in 1792, almost in the final of his acting the way he showed "Imaginary Invalid" and played a major role in it. Speaking about the impression of tragicomic "Imaginary Invalid" Schroeder, a writer IF Shinko exclaimed: "Truly a portrait worthy of being immortalized Chodowiecki!"
March 30, 1796 is a great actor said goodbye to the stage. He left early. But there was always convinced that he had acted properly. In an interview with FL Schmidt, later head of the Hamburg theater shestidesyatidvuhletny Schroeder said: "I do not play now, and it′s good, do not worry yourself."
After leaving the stage, Schroeder lived on his estate in Rellingene. In his memoirs, he described the unrest experienced, about the theater, the thorns of which languished for half a century, the people scenes, his contemporaries, who have made whatever contribution to the national art.
Ills besetting Schroeder over the years, became more stubborn. Good care of his wife, the attention of Sister Dorothy and her daughter, who then lived in constant Rellingene, some helped carry the disease. Friends and admirers of the old actors were always welcome in a cozy home.
September 3, 1816 Schroeder was gone. Ninth in the morning his body was transported from Rellingen in Hamburg. All the way to the city of the funeral procession was met people who came last time to bow to the great actor.
When Having sounded full of sorrow farewell speech was quiet and beautiful singing of the choir, the funeral procession moved to the cemetery. Closest Schroeder slowly walked behind the coffin. These were followed by more than sixty carriages, and more - vast crowds of Hamburg′s deeply distressed. All of them carried to the grave Schroeder ...
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