Encyclopedia

Paul Wegener

Also found in: Wikipedia.
Paul Wegener
Birthday
BirthplaceArnoldsdorf, West Prussia, Imperial Germany
Died
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Wegener, Paul

 

Born Dec. 11, 1874, in Bischdorf; died Sept. 13, 1948, in Berlin. German actor.

Wegener studied at the universities of Freiburg and Leipzig and made his theater debut in 1895. He became most famous for his performance of the Actor in M. Gorky’s The Lower Depths (German title The Lodging). In 1906, M. Reinhardt asked Wegener to join the troupe of the German Theater in Berlin. He worked for this theater with interruptions until 1948. His best performances were in roles from classical dramas in which he portrayed psychologically complex and profound characters such as Richard III, Othello, and Macbeth in Shakespeare’s tragedies of the same name, as well as lago and King Claudius in Shakespeare’s Othello and Hamlet, respectively. He also played the Mayor in Gogol’s The Inspector-General, Holofernes in Hebbel’s Judith, and Rasputin in A. N. Tolstoy’s and Shcheglov’s The Empress’ Plot.

As director, scenarist, and actor, Wegener was one of the founders of the German artistic motion picture. Beginning in 1910 until the 1920’s he performed roles of fantastic and mysterious personages; he played the lead roles in the films The Student From Prague (1912) and Golem (1913 and 1920). He also acted in the films Sumurun (1922), Lucrezia Borgia (1922), The Living Buddhas (1923), and The Weavers (1927; based on G. Hauptmann’s play). As a movie actor he was noted for his unusually expressive acting.

After World War II, Wegener led the movement of artists for the regeneration and development of the democratic traditions of the German theater and motion picture. At the German Theater he performed such roles as Nathan (Lessing’s Nathan the Wise), Polonius (Shakespeare’s Hamlet), and Polezhaev (Rakhmanov’s Restless Old Age). He continued to act in movies (The Great Mandarin, 1948).

REFERENCES

Mazing, B. Paul’ Vegener. Moscow-Leningrad, 1928.
Bronnen, A. Begegnungen mit Schauspielern. Berlin, 1967. Pages 56-62.

I. IA. NOVODVORSKAIA

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive
Another director, Paul Wegener, was a decorated veteran of the Eastern Front.
Other figures discussed are director Max Reinhardt, director Paul Wegener, horror writer Hanns Heinz Ewers, and actor Conrad Veidt.
Chapter 1 focuses on Paul Wegener's three golem films.
For the 75th anniversary of the world's oldest film festival, masterpieces by Paul Wegener, Robert Siodmak, Alain Resnais and other greats will be celebrated.
Because the buyer of such a fortified property likely would not want lots of details about it made public, listing agent Paul Wegener of Atlanta Fine Homes Sotheby's International Realty has declined to divulge the exact location and name of its owner.
Paul Wegener's 1915 German silent film "The Golem" is widely regarded as the first creature feature, while "Nosferatu," still one of Germany's most iconic horror films, came along seven years later.
One of the latter, German filmmaker Paul Wegener's enormously popular 1920 horror film, The Golem: How He Came into the World, reinterpreted the Rabbi Loew story in ways that mirrored the distress that afflicted postwar Germany.
But despite break-out films by actor-director Paul Wegener, ("Student From Prague," "The Golem") the company was almost bankrupt by 1914.
The promotional copy for her The Golem Returns: From German Romantic Literature to Global Jewish Culture, 1808-2008 (Michigan, December)in which Gelbin addresses instantiations of the golem in the work of Gustav Meyrink, Paul Wegener, and othersproposes cheerily that "the Hulk, Superman, the Terminator are all modern popular culture echoes of the golem a sort of friendly Jewish version of Frankenstein's monster."
For instance, when he alludes to recent interpretations of Paul Wegener's The Golem as an antisemitic film (pp.
Accordingly, in the chapter on dramas and melodramas of the silent period we are treated to a subtle analysis of Paul Wegener's Der Golem--wie er in die Welt kam (1917), a film which Prawer aptly terms the 'prequel' to the director's other 'Golem-films'.
Copyright © 2003-2025 Farlex, Inc Disclaimer
All content on this website, including dictionary, thesaurus, literature, geography, and other reference data is for informational purposes only. This information should not be considered complete, up to date, and is not intended to be used in place of a visit, consultation, or advice of a legal, medical, or any other professional.