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Waldbühne
The Waldbühne (Woodland Stage or Forest Stage) is an amphitheatre in Berlin, Germany. It was designed by German architect Werner March in emulation of a Greek theatre and built between 1934 and 1936 as the Dietrich-Eckart-Bühne (Dietrich Eckart Stage), a Nazi Thingplatz, and opened in association with the 1936 Summer Olympics. Since World War II it has been used for a variety of events, including boxing matches, film showings and classical and rock concerts. It seats more than 22,000 people. The venue is located off Friedrich-Friesen-Allee just northeast of Glockenturmstraße.
==Nazi era==
The theatre was built as part of the Olympic complex on the request of Propaganda Minister Joseph Goebbels.〔Thomas Schmidt, ''Werner March: Architekt des Olympia-Stadions, 1894–1976'', Basel/Berlin: Birkhäuser, 1992, ISBN 9783764324551, (p. 60 ) 〕 March made use of a natural ravine and modelled the theatre on ancient Greek amphitheatres.〔Paul Ortwin Rave and Hinnerk Scheper, eds., rev. Irmgard Wirth, ''Die Bauwerke und Kunstdenkmäler von Berlin: Stadt und Bezirk Charlottenburg'', Volume 1 ''Text'', Berlin: Mann, 1961, , (p. 231 ) 〕〔Glen Gadberry, "The Thingspiel and Das Frankenberger Wurfelspiel", ''The Drama Review'' 24.1, March 1980, pp. 103–14, (p. 106 ).〕 With the intent of showing the kinship between ancient Greek and Germanic culture, the entrance is flanked by two pairs of reliefs by Adolf Wamper: on the left, representing the "Fatherland", two male nudes, one with a sword, the other with a spear,〔〔''Antike und Altertumswissenschaft in der Zeit von Faschismus und Nationalsozialismus'', University of Zurich colloquium, 14–17 October 1998, ed. Beat Näf with Tim Kammasch, Texts and studies in the history of humanities 1, Mandelbachtal/Cambridge: Edition Cicero, 2001, ISBN 9783934285460, (p. 260 ) 〕 a pairing that was to be used more famously by Arno Breker;〔Klaus Wolbert, ''Die Nackten und die Toten des "Dritten Reiches": Folgen einer politischen Plastik des deutschen Faschismus'', Kunstwissenschaftliche Untersuchungen des Ulmer Vereins, Verband für Kunst- und Kulturwissenschaften 12, Gießen: Anabas, 1982, ISBN 9783870380953, (p. 212 ) 〕 and on the right, representing artistic celebration, two female nudes, one with a laurel wreath, the other with a lyre.〔Georg Dehio, ''Handbuch der deutschen Kunstdenkmäler: Berlin'', 3rd ed. rev. Sibylle Badstübner-Gröger and Michael Bollé, Munich: Deutscher Kunstverlag, 2006, ISBN 9783422031111, (p. 229 ) 〕〔Photograph, Werner Rittich, ''Architektur und Bauplastik der Gegenwart'', (2nd ed.) Berlin: Rembrandt, 1938, , pp. 56, 58, 59. Photograph of the arena, p. 57.〕 The arena, the Maifeld field, and the Olympic stadium itself were designed to be used together for large events, and March also provided an indoor arena in the nearby ''Haus des deutschen Sports'' (House of German Sports) that has been regarded as a smaller equivalent of the Dietrich Eckart theatre.〔Rainer Stommer, ''Die inszenierte Volksgemeinschaft: die "Thing-Bewegung" im Dritten Reich'', Marburg: Jonas, 1985, ISBN 9783922561316, p. 207 〕
The theatre opened on 2 August 1936, the day after the opening of the games, with the première of Eberhard Wolfgang Möller's ''Frankenburger Würfelspiel''.〔Glen W. Gadberry, "Eberhard Wolfgang Möller's Thingspiel Das Frankenburger Würfelspiel", in Henning Eichberg, Michael Dultz, Glen Gadberry, and Günther Rühle, ''Massenspiele: NS-Thingspiel, Arbeiterweihespiel und olympisches Zeremoniell'', Problemata 58, Stuttgart-Bad Cannstatt: Frommann-Holzboog, 1977, ISBN 9783772806674, pp. 235–48, pp. 235–36.〕 20,000 people were in attendance, and the Reich Labour Service supplied 1,200 extras.〔Karl-Heinz Schoeps, ''Literature and Film in the Third Reich'', tr. Kathleen M. Dell'Orto, Studies in German literature, linguistics, and culture, Rochester, New York / Woodbridge, Suffolk: Camden House/Boydell & Brewer, 2004, ISBN 9781571132529, (p. 157 ).〕 It was also used for some events of the games, in particular boxing matches.〔("Berliner Waldbühne" ), TV Berlin, 30 May 2011 〕 During the Olympics and later, dance and choral movement productions took place there, in addition to operas: during the Olympics and again in 1937 for the celebration of the 700th anniversary of the founding of Berlin, Handel's ''Hercules''; also in 1937, Gluck's ''Orfeo'';〔 and in 1939, a production of Wagner's ''Rienzi'' paid for and co-designed by Hitler in association with Benno von Arent.〔Frederic Spotts, ''Hitler and the Power of Aesthetics'', Woodstock: Overlook, 2002, ISBN 9781585673452, (p. 238 ).〕
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