Lothar Schreyer

Schreyer, Lothar (Blasewitz, 1886-1966, Hamburg), was a member of the Sturm group, co-editing Der Sturm from 1917 and publishing his programmatic tracts (notably Die neue Kunst, 1919). From 1912 to 1918 he was dramatic adviser (Dramaturg) at the Schauspielhaus, Hamburg; he was founder and director of the Kunstbühne, Berlin (1919-21), demonstrating his approach with his own plays Jungfrau (1917), Meer. Sehnte. Mann (1918), Nacht (1919), and Kreuzigung (1920). From 1921 to 1923 he was a professor at the Bauhaus in Weimar. His religious leanings showed in his essays on J. Böhme; in 1933 he became a Roman Catholic. He is best known for his radical Expressionist theory on art, the theatre, and language (Das Wortwerk ist eine rhythmische Wortreihe). His reminiscences include Expressionistisches Theater. Aus meinen Erinnerungen (1948) and Erinnerungen an Sturm und Bauhaus (1956). A collection appeared as Zwischen Sturm und Bauhaus. Das expressionistische Werk (1982).

Schreyer's later work comprises religious legends (Die Liebe der Heiligen Elisabeth, 1933; St. Christopherus, 1936), novels (Der Falkenschrei. Friedrich II. von Hohenstaufen, 1940; Der Untergang von Byzanz, 1940; Siegesfest in Karthago, 1961), and plays (e.g. Anbetung des göttlichen Kindes, 1950; Die Vogelpredigt, 1951). An essayist (on topics related to religion and art), he also produced religious poetry (Dichtungen, 1928).