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Das Hermannsdenkmal ist eine Kolossalstatue in der Nähe von Hiddesen südwestlich von Detmold in Nordrhein-Westfalen im südlichen Teutoburger Wald. Es wurde zwischen 1838 und 1875 nach Entwürfen von Ernst von Bandel erbaut und am 16. August 1875 eingeweiht.
Das Denkmal soll an den Cheruskerfürsten Arminius erinnern, insbesondere an die sogenannte Schlacht im Teutoburger Wald, in der germanische Stämme unter seiner Führung den drei römischen Legionen XVII, XVIII und XIX unter Publius Quinctilius Varus im Jahre 9 eine entscheidende Niederlage beibrachten.
Mit einer Figurhöhe von 26,57 Metern und einer Gesamthöhe von 53,46 Metern ist es die höchste Statue Deutschlands und war von 1875 bis zur Erbauung der Freiheitsstatue 1886 die höchste Statue der westlichen Welt.
[...]
Mit dem Bau wurde 1838 begonnen. Schon vor Baubeginn, aber auch infolge des Baus entstanden überall in Deutschland Vereine, die erfolgreich Gelder für das Denkmal sammelten.[1] So berichtet etwa Heinrich Heine 1843 und 1844: „… zu Detmold ein Monument gesetzt; hab selber subskribieret.“
1846 wurde der Sockel des Denkmals fertiggestellt. In der Reaktionsphase nach der Revolution von 1848 ruhte der Bau bis 1863. Es fehlte in dieser Zeit sowohl das finanzielle als auch das politische Interesse, den Bau weiter zu führen. Erst mit dem Besuch des preußischen Königs im Juni 1869 am Bauplatz und nachfolgend mit der Gründung des Deutschen Reiches nach dem Deutsch-Französischen Krieg (1870–1871) wurde das Denkmalsprojekt wieder populär. Der Reichstag bewilligte 10.000 Thaler für den Weiterbau, Wilhelm I. spendete die gleiche Summe. Der größte Betrag von 37.500 Thalern kam jedoch von privater Seite durch Spenden der Bevölkerung; weitere 1.082 Thaler gab Franz Joseph I., andere deutsche Fürstenhäuser überwiesen 13.500 Thaler und aus dem Ausland trafen 1.500 Thaler ein. Der Kostenaufwand belief sich insgesamt auf 90.000 Thaler. Ernst von Bandel hatte von Beginn an auf ein Künstlerhonorar verzichtet. Damit kostete das Denkmal nur die Hälfte wie etwa die Bavaria.
Die Entstehung des Denkmals ist nicht von seinem Erbauer, dem Bildhauer Ernst von Bandel zu trennen. Dieser widmete sich zeitlebens dem Denkmalprojekt und versuchte insbesondere in der Zeit der Bauunterbrechung weitere finanzielle Unterstützung für die Vollendung zu finden. Während der Arbeiten lebte Bandel zeitweise in einem unterhalb des Denkmals errichteten Blockhaus, der Bandel-Hütte, die man noch besichtigen kann. Bandel konnte die feierliche Einweihung im Jahr 1875 noch erleben; er starb 1876.
Es handelt sich bei dem Denkmal um eine Kombination von Bau- und Figurendenkmal. Der Unterbau des Hermannsdenkmals hat einen runden Grundriss, ist 26,89 m hoch und besteht aus roh behauenem Osning-Sandstein.[4] Auf dem 2,20 m hohen Sockel schließen sich zurückgesetzt zehn Pfeiler (genauer Pfeilervorlagen) und zehn Nischen an. Die Schafte der Pfeiler haben eine hexagonale Form. Die Dienste der Kapitelle bilden Spitzbögen zum jeweils nächsten Pfeiler und Rundbögen zum übernächsten Pfeiler (Stilmix Gotik und Romanik). Über den Kapitellen schließt sich der rippenwulstartige Besucherumlauf an. Darüber befindet sich eine Rundkuppel als typisches Moment der Herrscherrepräsentation und auf einem weiteren kleinen Sockel die Figur des Hermann. Für den Bau des Sockels wurden auch Steine der Grotenburg verwendet, so dass die prähistorische Fliehburganlage durch den Denkmalsbau weitgehend zerstört wurde.
Die Figur hat eine Höhe von 26,57 m. Sie besteht aus einer Eisenrohrkonstruktion, die Oberfläche aus Kupferplatten. Sie wiegt mitsamt der Standplatte, auf der sie befestigt ist, 42,80 Tonnen. Zu sehen ist eine überlebensgroße Figur mit antikisierender Rüstung und Flügelhelm. Der rechte Arm ist emporgestreckt und hält ein Schwert, das 7 m misst und etwa 550 kg wiegt und von der Krupp gespendet worden ist. Der Schwertarm ist in Richtung Westen gestreckt; dies wird je nach Standpunkt als ein offensives oder defensives Mahnen in Richtung Frankreich interpretiert. Der linke Arm ist auf einen bauchhohen Schild gelehnt. Unter dem linken, leicht angewinkelten Bein liegen ein Adler (Aquila) und ein Liktorenbündel (Fasces). Die Informationen über die Kleidung des Hermann dürfte von Bandel den Werken des Tacitus entnommen haben. Auffällig ist, dass keine Stammeszeichen oder Ähnliches an der Statue angebracht wurden.
[...]
Gewichte der einzelnen Elemente
Standbild: 42.800 kg
Schild: 1.150 kg
Schwert: 550 kg
Abmessungen
Höhe des Denkmals: 53,46 m
Größe des Unterbaus: 19,86 m
Größe der Kuppel: 7,03 m
Größe der Figur: 26,57 m
Länge des Schwertes: 7 m
Höhe des Schildes: 10 m
Mehr Infos / Quelle: de.wikipedia.org/wiki/Hermannsdenkmal
Source: en.wikipedia.org/wiki/Berlin
Berlin is the capital and largest city of Germany by both area and population. Its 3,723,914 (2018) inhabitants make it the second most populous city proper of the European Union after London. The city is one of Germany's 16 federal states. It is surrounded by the state of Brandenburg, and contiguous with its capital, Potsdam. The two cities are at the center of the Berlin/Brandenburg Metropolitan Region, which is, with 6,004,857 (2015) inhabitants and an area of 30,370 square km, Germany's third-largest metropolitan region after the Rhine-Ruhr and Rhine-Main regions.
Berlin straddles the banks of the River Spree, which flows into the River Havel (a tributary of the River Elbe) in the western borough of Spandau. Among the city's main topographical features are the many lakes in the western and southeastern boroughs formed by the Spree, Havel, and Dahme rivers (the largest of which is Lake Müggelsee). Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. About one-third of the city's area is composed of forests, parks, gardens, rivers, canals and lakes. The city lies in the Central German dialect area, the Berlin dialect being a variant of the Lusatian-New Marchian dialects.
First documented in the 13th century and situated at the crossing of two important historic trade routes, Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933), and the Third Reich (1933–1945). Berlin in the 1920s was the third largest municipality in the world. After World War II and its subsequent occupation by the victorious countries, the city was divided; West Berlin became a de facto West German exclave, surrounded by the Berlin Wall (1961–1989) and East German territory. East Berlin was declared capital of East Germany, while Bonn became the West German capital. Following German reunification in 1990, Berlin once again became the capital of all of Germany.
Berlin is a world city of culture, politics, media and science. Its economy is based on high-tech firms and the service sector, encompassing a diverse range of creative industries, research facilities, media corporations and convention venues. Berlin serves as a continental hub for air and rail traffic and has a highly complex public transportation network. The metropolis is a popular tourist destination. Significant industries also include IT, pharmaceuticals, biomedical engineering, clean tech, biotechnology, construction and electronics.
Berlin is home to world-renowned universities, orchestras, museums, and entertainment venues, and is host to many sporting events. Its Zoological Garden is the most visited zoo in Europe and one of the most popular worldwide. With the world's oldest large-scale movie studio complex, Berlin is an increasingly popular location for international film productions. The city is well known for its festivals, diverse architecture, nightlife, contemporary arts and a very high quality of living. Since the 2000s Berlin has seen the emergence of a cosmopolitan entrepreneurial scene.
Source: en.wikipedia.org/wiki/Potsdamer_Platz
Potsdamer Platz (German: literally Potsdam Square) is an important public square and traffic intersection in the centre of Berlin, Germany, lying about 1 km (1,100 yd) south of the Brandenburg Gate and the Reichstag (German Parliament Building), and close to the southeast corner of the Tiergarten park. It is named after the city of Potsdam, some 25 km (16 mi) to the south west, and marks the point where the old road from Potsdam passed through the city wall of Berlin at the Potsdam Gate. After developing within the space of little over a century from an intersection of rural thoroughfares into the most bustling traffic intersection in Europe, it was totally laid to waste during World War II and then left desolate during the Cold War era when the Berlin Wall bisected its former location. Since German reunification, Potsdamer Platz has been the site of major redevelopment projects.
...damit der Zug im Licht kommt. So war es auch am 09.07.2020 an meiner ikonischen Heimatstelle bei Kilometer 109.2 bei Eiserfeld, als die 110 262 mit ihrem Henkelzug durch den kleinen Ort fuhr.
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Kosmopolitismus
Lindenhof Zürich
Freitag, 2. September, 19.00 Uhr. Einführung 18.00.
Felix Mendelssohn (1809-1847): Präludium und Fuge e-Moll, op. 35/1 (1841)
Franz Liszt (1811-1886): Stücke aus «Années de pèlerinage». Première année : Suisse (1848-1851)
Ludwig van Beethoven (1770-1827): Sonate c-moll op. 111 (1822)
Man kann auch überall zuhause sein. Der Kosmopolitismus der Musik von Mendelssohn, Liszt und Beethoven – in der Interpretation des Schweizer Meisterpianisten Oliver Schnyder – führt den Musiksommer auf den Lindenhof, den ältesten besiedelten Teil Zürichs. Hier befindet sich seit dem 18. Jahrhundert die Heimat der Zürcher Freimaurerei, die für Aufklärung, Toleranz und Kosmopolitismus steht. Hier wurde Franz Liszt 1845 auf eigenen Wunsch als Ehrenmitglied der Loge «Modestia cum libertate» aufgenommen. Sein unentwegter und nicht immer von Verständnis des Publikums begleiteter Einsatz für Beethovens Spätwerk hatte einen grossen Einfluss darauf, dass diese an masonischen Ideen reiche Musik bis heute so lebendig geblieben ist. Seine letzte Sonate entführt die Zuhörenden in das Reich der musikalischen Metaphysik, Theodor Adorno sprach von «Eros und Erkenntnis». Um diesen letzten Dingen auf den Grund zu gehen, sind wir hier am richtigen Ort. Im normalerweise für die Öffentlichkeit nicht zugänglichen historischen Konferenzsaal der Zürcher Logen, wo seit mehr als 160 Jahren die Anhänger der Aufklärung debattieren.
„Reichsparteitag der Arbeit" 1937.
Bild Nr.
96. Nach dem Appell der Wehrmacht fährt der Führer mit dem Ober-
befehlshaber des Heeres an den begeisterten Zuschauermassen
vorbei
"Congrès du travail du Parti du Reich"
photo N°95./ 96
Après l'appel nominal de la Wehrmacht, le Führer se présente avec l'Obercommandant de l'armée à la foules enthousiastes des spectateurs présents.
Raumbild-Verlag Diessen a. Ammersee
"Reich Party Labour Congress"
photo 95. / 96
After the roll call of the Wehrmacht, the Führer and the Obercommandant of the army presented themselves to the enthusiastic crowds of spectators present.
While “as one man” the world should stand together and help each other through a pandemic...
Never has there been so many coup d'état in Africa and elsewhere, the Maghreb is shutting down with authority, and we will break all the femicide records during these border closures and lockdowns.
While a former KGB man plays sorcerer’s apprentice with the world.. Who can this surprise?
Published in 1937 by Raumbildverlag Otto Schönstein, Diessen/ Ammersee (Raumbild-Zeitgegeschichte, volume 4).
"The highlight of this festival culture was the self-portrait of the NSDAP at the carefully planned Reich Party rallies, which were still held in Nuremberg in early September and each had a motto: "Victory of the Faith" (1933), "Triumph of the Will" (1934), "Rallies of the Freedom Reich Party" (1935), "Rally of the Honor Reich Party" (1936), "Reich Labour Party Rally" (1937), "Reich Party Rally of Greater Germany" (1938). The "Congress of the Reich Party for Peace" (1939) did not take place because of the beginning of the war. The various meetings and conferences were of secondary importance in party congresses - although they took place, they did not reach the public to the same extent as the show events of marches, parades, appeals,The snapshots of the different celebrations, staged by Leni Riefenstah l(*) , for example , were not only a documentation of the events, but a part of the program on which they were based. Discipline and order, the submission of the individual to a common will and the claim to eternity, which were expressed in light, fire and noble building materials of the Nazi Party’s gathering ground, also known as the "Giant Forum", were the essential elements elements of Nazi ideology. Between 1935 and 1938, the staging of party conventions also included a “festive representation” of Richard Wagner’s “Meistersinger” on opening day night. It was precisely this opera that the National Socialists regarded as an expression of the "German heroic world view".
Carola Jullig
© German Historical Museum, Berlin
15 July 2015
"Le point culminant de cette culture de festival était l'autoportrait du NSDAP lors des rassemblements du parti du Reich soigneusement planifiés, qui se tenaient toujours à Nuremberg début septembre et avaient chacun une devise : "Victoire de la foi" (1933), "Triumph de la Volonté" (1934), "Rassemblements du Parti du Reich de la Liberté" (1935), "Rassemblement du Parti du Reich d'Honneur" (1936), "Rassemblement du Parti du Reich du Travail" (1937), "Rassemblement du Parti du Reich de la Grande Allemagne" (1938). Le "Congrès du Parti du Reich pour la paix" (1939) n'a pas eu lieu en raison du début de la guerre. Les différentes réunions et conférences étaient d'une importance secondaire dans les congrès du parti - bien qu'elles aient eu lieu, elles n'ont pas atteint le public dans la même mesure que les événements de spectacle de marches, défilés, appels,
Les instantanés des différentes célébrations, mises en scène par Leni Riefenstahl (*) , par exemple , n'étaient pas seulement une documentation des événements, mais une partie du programme sur lequel ils étaient basés. La discipline et l'ordre, la soumission de l'individu à une volonté commune et la prétention à l'éternité, qui s'exprimaient dans la lumière, le feu et les nobles matériaux de construction du terrain de rassemblement du parti nazi, également connu sous le nom de "Forum géant", étaient les éléments essentiels éléments de l'idéologie nazie. Entre 1935 et 1938, la mise en scène des congrès du parti comprenait également une « représentation festive » du « Meistersinger » de Richard Wagner le soir de la journée d'ouverture. C'était précisément cet opéra que les nationaux-socialistes considéraient comme une expression de la "vision du monde héroïque allemande".
Carola Jullig
© Musée historique allemand, Berlin
15 juillet 2015
Alors que « comme un seul homme » le monde devrait se serrer les coudes et s'entraider contre une pandémie...
Jamais il n'y a eu autant de coup d'État en Afrique et ailleurs, le Maghreb se ferme d'autorité, et nous allons battre tous les records de féminicides pendant ces fermetures des frontières et confinement.
Alors qu'un ancien petit homme du KGB joue aux apprentis sorciers avec le monde... Qui peut etre étonné ?
(*)
www.flickr.com/photos/187371730@N02/51883265669/in/datepo...
Simson was a German company which produced firearms, automobiles, bicycles and motorcycles, and mopeds. Under the Third Reich, the factory was taken from the Jewish Simson family, and was renamed several times under Nazi and later Communist control. The Simson name was reintroduced as a brand name for mopeds produced at the factory in the former German Democratic Republic (GDR). Simson mopeds were then produced in Suhl (Germany) until 2002.
In 1854 the brothers Löb and Moses Simson bought one third of a steelhammer works in Suhl (Germany). The production of carbon steel began and the firm Simson & Co. was founded in 1856. The factory produced guns and gun barrels in the years following.
In 1871 the first steam engine started its service and the enterprise established production of bicycles in 1896, which was followed by the start of automobile production in 1907. The Simson Supra racing car is famous.
In World War I, Simson produced Mauser Gewehr 98 rifles for the German Army. In the aftermath of the war and the Treaty of Versailles, the reorganized Reichswehr was allowed to buy new handguns from only one company, so as to limit the ability of the German arms industry to recover. Larger manufacturers such as DWM were passed over in favor of Simson precisely because of its lower production capacity, and as such Simson was the sole producer of military-contract Luger pistols from 1925 to 1934. Simson made about 12,000 Lugers in this period. Simson also was responsible for repairing and refurbishing existing firearms of the Reichswehr, though DWM was employed in the capacity as well, in contravention of the Treaty of Versailles. In addition to Lugers, Simson also repaired and refurbished Gewehr 98 and Karabiner 98b rifles, MG08 machine guns and MP18 submachine guns.
In the 1920s Simson also produced .25 ACP Westentaschenpistolen ("vest pocket pistols"), for commercial sale. Until 1989 this was Simson's only venture into commercial handgun production. These pistols were available in two almost identical models, the first known as Model 1 in German and Model 1922 in the United States, and the second as Model 2 in Germany and Model 1927 in the US.
Simson built cars from 1914 to 1915 and from 1919 until 1934. Its 1914 models had four-cylinder engines and were the 1.5 litre, 22 bhp model A and 2.6 litre, 28 bhp model C. In the First World War Simson stopped car production in 1915.
In 1919 Simson resumed car production with a new four-cylinder range: the 1.6 litre, 22 bhp model Bo, 1.6 litre; 40 bhp model Co and 3.5 litre, 45 bhp model D. Top speeds were 80 km/h (50 mph) for the Co and 90 km/h (56 mph) for the D. In 1923 Simson replaced the D with the 3.6 litre, 65 bhp model F, which was Simson's first 100 km/h (62 mph) production model.
In 1924 completely revised its range of cars and gave them the Simson-Supra name. The hand-built models starting at that time and designed by Paul Henze were particularly noteworthy.[6] The first Supra models were the S and the S Sport, which had a four-cylinder, two litre, long-stroke, DOHC engine. The S produced 50 bhp and had a 120 km/h (75 mph) top speed; the S Sport produced 60–80 bhp giving it a top speed of more than 140 km/h (87 mph). In 1925 a SOHC So version was introduced that produced 40 bhp and had a top speed of only 100 km/h (62 mph) The S and S Sport were discontinued in 1926; So production continued until 1929.
In 1925 Simson introduced its first six-cylinder car, the model J. Its SOHC, 3.1 litre engine produced 60 bhp, giving it a 95 km/h (59 mph) top speed. In 1926 this was succeeded by the model R, which produced similar performance with an OHV pushrod engine.
In 1931 the model J was succeeded by the model RJ, in which the six-cylinder engine had a larger bore giving it 3.3 litres displacement and 70 bhp. In the same year Simson introduced the first and only eight-cylinder Supra, the model A. Its engine shared the RJ's long-stroke dimensions of 79.5 x 115 mm, giving it 4.7 litres displacement. This produced 90 bhp and gave a 120 km/h (75 mph) top speed. Models RJ and A were produced until 1934.
Hitler's government forced the Jewish Simson family to flee the country in 1936. Under the dispossession of Jewish industrialists a trustee took control of the firm, and so by merger with other factories the Berlin Suhler Waffen- und Fahrzeugwerke (BSW) was formed. In the same year the factory produced its first motorcycle, the BSW 98, which had a 98 cc engine and two-speed transmission. Critics of the Nazi government suggested a different meaning for the BSW initials: Bis Simson Wiederkommt ("until Simson returns").
After the Simson brothers were exiled the factory increased weapons production. From 1939 the company was called Gustloff-Werke – Waffenwerk Suhl, named after assassinated Swiss Nazi Wilhelm Gustloff, and had subsidiaries such as the Otto Eberhardt Patronenfabrik ("Otto Eberhardt Cartridge Factory"). As well as the main works in Suhl, the Gustloff-Werke had branch factories at Greiz in Thuringia and at Łódź in Nazi-occupied Poland. Sachs-engined motorcycles from 47 cc to 123 cc were made within the Gustloff group from about 1934 until about 1940.
Gustloff-Werke products included 7.92 mm calibre Panzerbüchse 39 anti-tank rifles, 7.92 mm calibre MG 42 machine guns, gun carriages for 20 mm calibre Flak 38 anti-aircraft guns, and various calibres of small arms ammunition. The firm continued to build bicycles, weapons and cars until 1945.
In 1946, by order of the Soviet Military Administration in Germany the manufacturing plant was partially dismantled and transported to the Soviet Union (USSR) as part of the Soviet reparations programme for the damage inflicted on the USSR by Germany in the Second World War. In 1947 the factory was integrated into the Soviet Sowjetische Aktiensgesellschaft Awtowelo (SAG Awtowelo or "Soviet Avtovelo Company Limited"). Автовело or Avtovelo is a Russian portmanteau word derived from автомобиль (avtomobil = "car") and велосипед (velociped = "bicycle"). It was adopted because initially all production was for export to the USSR.
Later, the USSR handed control of the factory to the German Democratic Republic (DDR) and in 1952 it was renamed Volkseigener Betrieb Fahrzeug- und Gerätewerk Simson Suhl. Production of sporting guns, prams and bicycles slowly resumed, but the main focus was again on making motorcycles.
Between 1949 and 1962 the Suhl factory produced more than 209,000 four-stroke motorcycles. They were designated 425, derived from the fact that they had a four-stroke engine with 250 cc displacement. The 425 has overhead valves in a V-formation, has a four-speed transmission, shaft final drive and has a duplex cradle frame. It earned a high reputation in the Eastern Bloc countries. The motorcycles were branded AWO (an abbreviation of Awtowelo) from 1949 until 1955, when the Simson name was revived. Some had Stoye sidecars fitted, and a Stoye Campi luggage trailer could also be fitted.
The original 425 model had plunger rear suspension, a 6.7:1 compression ratio, produced 12 bhp and had a top speed of 100 km/h (62 mph). It had 19 in (480 mm) wheels with half-width drum brakes. The first 1,000 machines were built from July 1949 until December 1950, and all were exported to the USSR. The model was released to the DDR domestic market in 1951. The plunger-framed model was designated AWO 425 from 1949 until 1955 and Simson 425 T from 1955 until 1960. The "T" stands for "Touring", to distinguish it from the Simson 425 S (Sport) model introduced in 1955. The plunger model was made from 1949 until 1960 and a total of 124,000 were built.
The 425 S had a twin-shock swinging arm rear suspension and a top speed of 110 km/h (68 mph). It had 18 in (460 mm) wheels with 180 mm (7.1 in) full-width drum brakes to give it better acceleration and braking than the plunger model. Initially the 425 S had 7.2:1 compression and produced 14 bhp; in 1961 this was increased to 8.3:1 which increased power output to 15.5 bhp. Simson made the 425 S from 1955 until 1962 and a total of 85,000 were built.
Several competition versions of the 425 were built. In 1953 a racing version of the plunger-framed model was produced as the AWO 425 R. It was not offered for sale to the public and only 15 examples were built. Power output from the race-tuned version of the pushrod overhead valve engine was 24 bhp . A version with chain-driven double overhead camshafts appeared in 1955 and produced about 28 bhp. By 1958 Simson's racing team found it necessary to switch from shaft drive to chain drive, which meant that it had to develop a new engine as well. For the 1958 season the Simson single had a telescopic front fork and swingarm rear suspension.
Alongside the fast and proven single cylinder engine, Simson also developed a 250 cc parallel twin. It had long-stroke dimensions of 50.5 mm x 56 mm and produced more than 30 bhp at 10,000 rpm. Like the single, the twin's valves were in a V-formation and it had a six-speed transmission and chain final drive. The twin made its first appearance in 1958 with chain driven double overhead camshafts, but for the following season the engine was revised with shaft-driven overhead cams. Simson developed a new motorcycle frame for racing, with a leading link front suspension and long swingarm rear suspension. The twin proved to be fast but was plagued with teething troubles.
In road racing in the 1950s MZ won numerous international victories, but Simson's wins were confined to domestic competition. Simson won the DDR-Meisterschaft ("GDR Championship") in 1953, 1954 and 1955,[24] but in 1958 the Allgemeiner Deutscher Motorsport Verband (ADMV, "General German Motorsport Federation") decided that in the 1959 season works riders would not be allowed to compete in the national championship. Simson therefore withdrew from road racing for 1959.
A Geländesport ("Enduro") version of the swinging-arm framed S model, the Simson 425 GS, was introduced in 1957. Production continued until 1959 and a total of about 80 examples were built. Simson developed a version of its single-cylinder engine enlarged to 350 cc for Enduro and Motocross competition. The enlarged GS engine produced such good performance that Simson decided to make it in larger numbers for competition machines to sell to club riders. In its first years of competition the GS suffered numerous competition defeats, but Simson systematically improved the reliability of its works competition machines. By the time Simson four-stroke production was ended at the end of 1961, the Simson works team had won competitions both in the DDR and abroad, and because of its competitiveness and reliability the GS model was used to equip the DDR's national Six Days Trial team.
The Simson Eskorte was a limited-production model built in 1957 for the DDR's Ministerium des Innern (MDI or "Ministry of the Interior") and for the Volkspolizei. The Eskorte looks identical to the 425 S but has a 350 cc engine based on that of the GS. It produced 23 bhp, which gave a top speed of 130 km/h (81 mph). Only about 30 were built.
Production of the plunger-suspension 425 T model had ended in 1960, and in 1961 Simson planned a 20 bhp, 350 cc, swinging-arm model for the general market. The prototype had a partially enclosed rear wheel and two-tone paint scheme reminiscent of some Norton models of that time, and a handlebar cladding (a little like MZ models of the era) and a neat headlamp nacelle. It was equipped with integral indicators, which was a relatively advanced feature for European motorcycles in 1961. However, in the development phase of this model the DDR introduced a policy of Kapazitätsbündelung ("capacity concentration"), under which the production of larger motocycles would be concentrated at the MZ works at Zschopau and from January 1962 all new private cars and motorcycles would be two-strokes. The DDR's Volkswirtschaftsrat ("People's Economic Council") terminated Simson four-stroke manufacture on 31 December 1961.
In 1955, the year that the 425 S motorcycle was launched and the Simson brand name was restored, the factory also began making two-stroke mopeds. The first model was the SR 1, a 48 cc machine producing 1.5 bhp. This was succeeded by the SR 2 in 1957 and the SR 2E in 1959. In 1958 Simson launched the KR 50, which has integral legshields and a rear wheel enclosure like a motor scooter, but 16-inch (410 mm) wheels like a small motorcycle. The KR 50 had a 48cc motor like the SR-series, but with a higher compression ratio that increased power output to 2.1 bhp.
When four-stroke motorcycle production was terminated, the Simson factory was directed to concentrate on moped production. In 1963 it raised the KR 50's compression ratio to 8.5:1, which increased power to 2.3 bhp. In 1964 this model was succeeded by the KR 51 Schwalbe ("swallow"), in which the KR 50's 38 x 42mm long-stroke engine was revised with almost square dimensions of 39.5 x 40mm and 50cc displacement. Compression was raised again to 9.5:1, increasing power by almost 50% to 3.4 bhp. Moped production grew steadily in Suhl; up to 200,000 mopeds were built per year. In 1965 the Simson factory employed 4,000 workers.
In 1964 Simson launched the SR 4-1 Spatz ("sparrow") and SR 4-2 Star, each of which had motorcycle-style bodywork without the legshields and rear enclosure. The Spatz initially had the long-stroke 38 x 42mm engine and an 8.5:1 compression ratio and produced 2 bhp;[38] the Star had an "over-square" 40 x 39.5 mm engine with 9.5:1 compression and produced 3.4 bhp. In 1967 the Spatz was revised as the SR 4-1 SK, which shared the Star's 40 x 39.5 mm engine dimensions but had an 8.5:1 compression ratio and produced 2.3 bhp. Spatz production was ended in 1970 and Star production was ended in 1975.
In 1966 Simson introduced the SR 4-3 Sperber ("Sparrowhawk"), with the same 50 cc engine but with power increased to 4.6 bhp and more angular styling than the Spatz and Star. In 1971 Simson introduced the SR 4-4 Habicht ("hawk"), which was cosmetically the same as the Habicht but had the same 3.4 bhp power output as the Star. Sperber production was ended in 1972 and Habicht production continued until 1975.
In 1968 Simson was merged with VEB Ernst-Thälmann-Werk Suhl to form the VEB Fahrzeug- und Jagdwaffenwerk Ernst Thälmann Suhl. The Schwalbe helped the company to worldwide fame, and in the DDR the scooter stood for the success of East German two-wheeler motor manufacturing.[citation needed] The Schwalbe was slowly developed over the years. In 1968 the KR 51/1 series was introduced with power increased to 3.6 bhp, followed in 1979 by the KR 51/2 series with 3.7 bhp. Schwalbe production was ended in 1986 in favour of more modern Simson 50cc moped models.
In 1970 Simson introduced a bicycle-style, pedal-start moped, the 50cc, 1.6 bhp SL 1 Mofa. Mofa is a contraction of Motor-Fahrrad, German for "moped". The model was revised as the SL 1S in 1971 but was discontinued in 1972. Simson revised its image with a new model, the S 50. This used the 40 x 39.5 cc version of the Simson engine, produced 3.6 bhp and was produced in various versions until 1980. Its successor was the S 51, in which Simson revised the styling again and returned to a long-stroke engine, this time with 38 x 44 mm dimensions and a 3.7 bhp output. The S 51 was built in various forms until production was ended in 1990.
In 1983 Simson introduced a 70 cc model, the S 70. This had the S 51's long-stroke engine bored out by 7 mm, giving over-square dimensions of 45 x 44 mm and producing 5.6 bhp. Like the S 51, the S 70 was produced in various forms until 1990.
In 1986 Simson introduced a new 50 cc scooter, the SR 50. It had legshields and unlike the KR 50 and KR 51 it had scooter-sized 12-inch (300 mm) wheels. However, it had a motorcycle-style rear mudguard instead of a scoter-style rear enclosure. In 1987 a 70 cc version, the SR 80 was added to the range. The SR 50 and SR 80 were made in various versions until 1990.
1990–2002
Following the take over of East Germany by West Germany in 1990, a number of attempts to modernise the assembly lines were made. This included commercial production of Makarov PM pistols, which the factory had previously made under the Ernst Thälmann name for DDR Nationale Volksarmee ("National People's Army") and police use. Fewer than 1,000 commercial Makarovs were made under the Simson name before production was discontinued.
In 1990 the S 51 and S 70 models were revised as the 50 cc S 53 and 70 cc S 83. These were offered in a range of road-going and off-road versions, but total production of all versions from 1990 until 1994 was only about 10,500 machines.
In 1992 Simson resumed tricycle production with a 50 cc, 3.3 bhp model, the SD 50 LT. It is based on the SR 50 scooter but has a single seat with a 360-litre cargo space behind it. From 1994 the model was named the Albatros. Production continued until 2002.
In 1993 the Suhl factory began making the Hotzenblitz electric car under contract for Hotzenblitz Mobile GmbH & Co. KG of Ibach in Baden-Württemberg. Hotzenblitz is a portmanteau word derived from the Hotzenwald region of the Southern Black Forest around Ibach and blitz, German for "lightning". The car had two seats and weighed 780 kg (1,720 lb). It produced only 16 bhp and had a range of only 100 km (62 mi) to 150 km (93 mi). The car was a very limited success, and only 140 examples were built by the time production ended in 1996.
In 1993 the SR 50 and SR 80 scooters were revived.[60] By 1997 revived production of the SR series totalled 3,100 examples, and production continued until 2002.[60]In 1994 the S 53 and S 83 were revised with two versions each: the road-going alpha and off-road beta.[61] These were made until 1996 but production figures are unavailable.[61] In 1996 Simson revived the Star model name for a new 50 cc scooter that had more curvaceous, fully enclosed bodywork.
Production of this model continued until 2001.
In 1996 Simson renamed the alpha and beta range by reviving the Habicht model name. In 1997 it introduced a 5.1 bhp version of the 50 cc machine, for which it revived the model Sperber name. In 1999 new 50 cc models were introduced: the Sperber Sport with a sports full fairing and a new Spatz with a space frame. Further 50 cc models were the semi-off-road Fighter in 2000 and the SC and TS series in 2002.
In 1998 Simson introduced a 125cc model, the Shikra (shikra is a type of goshawk). The machine has a space frame and is powered by a Honda four-stroke 15 bhp engine built under licence in Taiwan. In 2000 the Shikra name was discontinued, power output was reduced to 13.6 bhp and the model became simply the Simson 125.
Several investors tried to keep production going and to bring new developments to market, but production ceased in autumn 2002. On 1 February 2003, bankruptcy proceedings were held, in the wake of which the remaining 90 employees were made redundant without any compensation.
The Schwalbe has since gained cult status in western Germany. (Wikipedia).
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
The Hitlerjugend, abbreviated HJ, was a paramilitary organization for male youth ages 14–18, the younger boys' section Deutsches Jungvolk for ages 10–14 and the girls' section Bund Deutscher Mädel (BDM). It existed from 1922 to 1945. Commons: Bundesarchiv.
Mini Museum at the shop Foto Rembrandt in Maastricht (NL).
About 100 years in business and specialized in Leica.
And even a golden Drittes Reich Leica !
Or is it a Soviet copy ??
Kirche St. Georg auf der Klosterinsel Reichenau
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Owned by a friend of James' family; he owns hundreds of military uniforms, most dating to WWII. His collection includes, but isn't limited to, female Russian pilot uniforms (the Night Witches) to Nazis to Canadian Mounties.
This will not be all of them, but only a handful. These are going to be in a possible upcoming diorama. To Bricklink for more blue helmets, torsos, and cavalry kepis!
Oradour-sur-Glane
est une commune française située dans le département de la Haute-Vienne.
Le massacre d'Oradour-sur-Glane est la destruction, le 10 juin 1944, de ce village et le massacre de sa population (642 victimes), par un détachement du 1er bataillon du 4e régiment de Panzergrenadier Der Führer appartenant à la Panzerdivision Das Reich de la Waffen-SS. Il s'agit du plus grand massacre de civils commis en France par les armées allemandes, assez semblable à ceux de Marzabotto, ou de Distomo (ce dernier perpétré lui aussi le 10 juin 1944), qui transposent sur le front de l'Ouest des pratiques courantes sur le front de l'Est.
Ces événements marquèrent profondément les consciences leurs conséquences judiciaires suscitèrent une vive polémique, notamment à la suite de l'amnistie accordée aux Alsaciens « Malgré-nous » qui avaient participé au massacre. Depuis 1999, le souvenir des victimes est célébré par le Centre de la mémoire d'Oradour-sur-Glane, situé non loin des ruines du village à peu près conservées en l'état.
Oradour-sur-Glane
is a French commune located in the department of Haute-Vienne.
The massacre of Oradour-sur-Glane was the destruction, on 10 June 1944, of this village and the massacre of its population (642 victims), by a detachment of the 1st Battalion of the 4th Regiment of Panzergrenadier Der Führer belonging to the Panzer Division Das Reich of the Waffen-SS. This is the largest massacre of civilians committed in France by the German armies, quite similar to those of Marzabotto or Distomo (the latter also perpetrated on June 10, 1944), which transpose on the Western front common practices on the Eastern front.
These events deeply marked the consciences their judicial consequences provoked a lively controversy, especially following the amnesty granted to the Alsatians «Malgré-nous» who participated in the massacre. Since 1999, the memory of the victims is celebrated by the Centre de la mémoire d'Oradour-sur-Glane, located not far from the ruins of the village that are almost preserved in their original state.