Friedrich Ludwig Schröder

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Schröder, Friedrich Ludwig

 

Born Nov. 3, 1744, in Schwerin; died Sept. 3, 1816, in Rellingen. German actor, stage director, teacher, and theater figure.

Schröder, son of the famous tragedienne S. S. Schröder, is considered, along with G. E. Lessing, to have been the greatest representative of the German Enlightenment theater. Making his stage debut as a child, he performed in the company of his stepfather, K. Ackermann, until 1756 and again in 1759 and 1760. From 1756 to 1759 he performed in the circus troupe of M. Stuart as a dancer, juggler, and acrobat and appeared in farces with J. F. von Kurz’ company. Schröder helped found the Hamburg National Theater, and during the years 1771–80, 1785–98, and 1811–12 he headed the company. From 1781 to 1785 he worked in the Vienna Burgtheater. In Ackermann’s company, Schröder played comic roles, becoming known as a master of improvisation. He also staged and composed approximately 70 ballets.

Schröder was the first German actor to play the role of Truffaldino in Goldoni’s A Servant of Two Masters. He was the first to present Shakespeare’s tragedies, notably Hamlet, King Lear, Macbeth, and Othello, on the German stage. These productions were in his own translations, and Schröder played the leading roles. Schröder also performed in the dramas of F. Schiller and in D. Diderot’s bourgeois drama The Father of the Family.

Schröder established a national German repertoire, affirmed realist principles in stage design, and taught a natural, psychologically truthful and inspired method of acting. His acting harmoniously combined inner emotion with carefully conceived outward means of expression.

REFERENCES

Gvozdev, A. A. “Ot akrobatizma k tragicheskomy iskusstvu.” In his Iz istorii teatra i dramy. Petrograd, 1923.
Hoffmann, P. F. Friedrich Ludwig Schröder als Dramaturg und Regisseur. Berlin, 1939.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Giesecke, in contrast, never alluded to the dependence of his own effort on Sophie Seyler's text; the connection was made its explicit only when Oberon had made its way to the Hamburg stage in 1791, where Seyler's name was reinstated by Friedrich Ludwig Schroder - the dedicatee of her original libretto.
In the case of the great actor, producer, and Shakespeare adapter Friedrich Ludwig Schroder (1744-1816), For many years director of the Hamburg theatre, whose achievements and Contributions dominate the study, this documentary material makes especially fascinating reading.
A lengthy correspondence with Friedrich Ludwig Schroder on plans for a reform of Masonic ritual, though previously reproduced around a century ago in obscure Masonic publications, will be unfamiliar to most readers; the letters tell us much about Herder's ambivalent attitude towards the secret societies.