German theatre directors

Eugen Berthold Friedrich Brecht (10 February 1898 – 14 August 1956), known professionally as Bertolt Brecht, was a German theatre practitioner, playwright, and poet. Coming of age during the Weimar Republic, he had his first successes as a playwright in Munich and moved to Berlin in 1924, where he wrote The Threepenny Opera with Kurt Weill and began a life-long collaboration with the composer Hanns Eisler. Immersed in Marxist thought during this period, he wrote didactic Lehrstücke and became a leading theoretician of epic theatre (which he later preferred to call "dialectical theatre") and the Verfremdungseffekt.
During the Nazi Germany period, Brecht fled his home country, first to Scandinavia, and during World War II to the United States, where he was surveilled by the FBI. After the war he was subpoenaed by the House Un-American Activities Committee. Returning to East Berlin after the war, he established the theatre company Berliner Ensemble with his wife and long-time collaborator, actress Helene Weigel.

Erich Ziegel (26 August 1876 – 30 November 1950) was a German theatre director and actor. He appeared in more than forty films from 1920 to 1950. He was the founder of the Hamburg Kammerspiele.

Wolfgang Langhoff (6 October 1901 in Berlin, German Empire – 26 August 1966 in Berlin, German Democratic Republic) was a German theatre, film and television actor and theatre director.

Boleslaw Stanislaus Barlog (28 March 1906 – 17 March 1999) was a German stage, film, and opera director primarily known for his work in reviving the theatrical life of Berlin after World War II. From 1951 until 1972 he served as the Intendant of the Staatliche Schauspielbühnen Berlin, the municipal theatre company of West Berlin that at its height employed over 80 actors and operated three theatrical venues—Schiller Theater, Schiller Theater Werkstatt, and Schlosspark Theater.

Martin Magner (March 5, 1900 – January 30, 2002) was a German-American theatre, radio, and television director.
Magner was born in Stettin, Germany (now Szczecin, Poland); his father was a Lutheran director of a shipping line and his mother a Jewish concert pianist. He acted in the Hamburg Chamber Theatre from the age of 18 and replaced the general director of the company when he left for fear of the Nazis, despite his protest that he was himself Jewish. Four years later, on March 21, 1933, after being ordered to fire the company's remaining Jews, he fled to Vienna.For the following three years he worked there, in Breslau (now Wrocław, Poland), and in Prague, where he directed operas. During these years he won praise from George Bernard Shaw, who liked his production of his play Too True to Be Good enough to call Magner an exception to his rule that "Youth is wasted on the young", and Sigmund Freud, who offered to train him as a lay psychoanalyst on the strength of a play about a psychiatrist. He declined.In 1936 Magner emigrated to the United States, settling in Chicago, where a Prague friend, Kurt Adler, was doing theatre work. For a while he taught at Northwestern University and again directed opera. In the 1940s he moved to radio and then in 1943 to television, working as a producer and director for 25 years, first for NBC and then from 1950 to 1965 for CBS in New York. His work included pioneering shows like Studio One, The Goldbergs, Lamp Unto My Feet, and Robert Montgomery Presents, and he hired a young Studs Terkel.After having to retire when he reached the age of 65, he moved to California and returned to theatre; he became the artistic director of the Inglewood Playhouse and started the New Theatre Inc. with Hope Summers. He made a practice of celebrating his birthday by directing a challenging play: for his 98th, Friedrich Dürrenmatt's Play Strindberg and for his 99th, the West Coast premiere of Thomas Hurlimann's The Envoy. He preferred classics; other examples were Georg Büchner's Woyzeck, Ben Jonson's Volpone, Jean Paul Sartre's The Condemned of Altona, Somerset Maugham's The Sacred Flame, and Athol Fugard's Blood Knot. He often used multi-racial casts.The Los Angeles Drama Critics Circle gave him a special award in 1975 and a lifetime achievement award in 1989.Magner enjoyed mountain climbing. He was married for the third time to the photographer Marion Palfi; she died of breast cancer in 1979. He died of cancer in Los Angeles.

Carl Anton Charles Ebert (20 February 1887 – 14 May 1980), was a German actor, stage director and arts administrator.
Ebert's early career was as an actor, training under Max Reinhardt and becoming one of the leading actors in his native Germany during the 1920s. During that decade he was also appointed to administrative posts, both theatrical and academic. In 1929 he directed opera for the first time, and during the 1930s established a reputation as an operatic director in Germany and beyond. A strong opponent of Nazism, he left Germany in 1933 and did not return until 1945.
Together with John Christie and the conductor Fritz Busch, Ebert created the Glyndebourne Festival Opera in 1934. Ebert remained its artistic director until 1959, though productions were suspended during the Second World War. In the 1930s and 1940s Ebert helped establish a national conservatory in Turkey, where he and his family lived from 1940 to 1947.
In his later years Ebert held administrative posts in Los Angeles and Berlin, and was a guest director at opera houses and festivals in Europe.

Lothar Müthel (né Lothar Max Lütcke; 18 February 1896 – 4 September 1964) was a German stage and film actor and director.

Friederike Caroline Neuber, née Friederike Caroline Weissenborn, also known as Friedericke Karoline Neuber, Frederika Neuber, Karoline Neuber, Carolina Neuber, Frau Neuber, and Die Neuberin (9 March 1697 – 30 November 1760), was a German actress and theatre director. She is considered one of the most famous actresses and actor-managers in the history of the German theatre, "influential in the development of modern German theatre." Neuber also worked to improve the social and artistic status of German actors and actresses, emphasizing naturalistic technique. During a time when theatrical managers in Germany were predominantly men, Caroline Neuber stands out in history as a remarkably ambitious woman who, during her 25-year career, was able to alter theatrical history, elevating the status of German theatre alongside of Germany's most important male theatrical leaders at the time, such as "her actor-manager husband Johann, the popular stage fool Johann Müller, the major actor of the next generation Johann Schönemann, the multi-talented newcomer Gotthold Ephraim Lessing, and principally, their de facto Dramaturg, Johann Gottsched."