{"id":15257,"date":"2026-02-21T15:24:37","date_gmt":"2026-02-21T14:24:37","guid":{"rendered":"https:\/\/www.kaethe-kollwitz.berlin\/?post_type=dt_portfolio&#038;p=15257"},"modified":"2026-02-21T15:24:37","modified_gmt":"2026-02-21T14:24:37","slug":"62","status":"publish","type":"dt_portfolio","link":"https:\/\/www.kaethe-kollwitz.berlin\/en\/project\/62\/","title":{"rendered":"62"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row type=&#8221;vc_default&#8221; gap=&#8221;35&#8243;][vc_column width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;&#8221;]Hermann Krehan after Robert Neppach<\/p>\n<p>Stage\/set design for \u201cDie Wandlung\u201d (The Transformation)<\/p>\n<p>undated<\/p>\n<p>(Production by Karlheinz Martin at Die Trib\u00fcne Berlin, 1919)<\/p>\n<p>&nbsp;<\/p>\n<p>Gouache<\/p>\n<p>&nbsp;<\/p>\n<p>Theater Studies Collection of the University of Cologne<\/p>\n<p>&nbsp;<\/p>\n<p>On October 12, 1919, K\u00e4the Kollwitz recalled in her diary that she had seen her son Peter for the last time on that day five years earlier, shortly before he was killed in World War I on the Western Front in Flanders. Against this backdrop, she was reluctant to attend the evening performance of Ernst Toller&#8217;s (1893\u20131939) play Die Wandlung (The Transformation) with her husband and son Hans.<\/p>\n<p>The production of the play was a resounding success, also for the leading actor, the young Fritz Kortner (1892\u20131970), who would later marry Kollwitz&#8217;s niece Hanna\u2014stage name Johanna Hofer. Another novelty was the innovative stage design, which dispensed with any spatial illusion.[\/vc_column_text]<div class=\"ult-spacer spacer-69e9fa2ef3449\" data-id=\"69e9fa2ef3449\" data-height=\"30\" data-height-mobile=\"30\" data-height-tab=\"30\" data-height-tab-portrait=\"\" data-height-mobile-landscape=\"\" style=\"clear:both;display:block;\"><\/div>[\/vc_column][vc_column width=&#8221;1\/2&#8243;][vc_row_inner][vc_column_inner width=&#8221;2\/3&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=&#8221;vc_default&#8221; gap=&#8221;35&#8243;][vc_column width=&#8221;1\/2&#8243;]<div class=\"ult-spacer spacer-69e9fa2ef3483\" data-id=\"69e9fa2ef3483\" data-height=\"30\" data-height-mobile=\"30\" data-height-tab=\"30\" data-height-tab-portrait=\"\" data-height-mobile-landscape=\"\" style=\"clear:both;display:block;\"><\/div>[vc_column_text]<\/p>\n<hr \/>\n<p>[\/vc_column_text]<style type=\"text\/css\">#dt-btn-1 {color: #888888;border-color: #ffffff;}#dt-btn-1 > .text-wrap * {color: #888888;}#dt-btn-1:hover {color: #ffffff;background: #888888;border-color: #888888;}#dt-btn-1:hover > .text-wrap * {color: #ffffff;}<\/style><a href=\"\/theater\/\" class=\"btn-shortcode dt-btn-m dt-btn outline-bg-btn custom-btn-color custom-btn-hover-color\" id=\"dt-btn-1\"><span>&lt; zur\u00fcck<\/span><\/a><div class=\"ult-spacer spacer-69e9fa2ef3536\" data-id=\"69e9fa2ef3536\" data-height=\"50\" data-height-mobile=\"50\" data-height-tab=\"50\" data-height-tab-portrait=\"\" data-height-mobile-landscape=\"\" style=\"clear:both;display:block;\"><\/div>[\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Hermann Krehan after Robert Neppach<br \/>\nStage\/set design for \u201cDie Wandlung\u201d (Transfiguration)<br \/>\nundated<br \/>\n(Production by Karlheinz Martin at Die Trib\u00fcne Berlin, 1919)<\/p>\n<p>Gouache<\/p>\n<p>Theater Studies Collection of the University of Cologne<\/p>\n<p>On October 12, 1919, K\u00e4the Kollwitz recalled in her diary that she had seen her son Peter for the last time on that day five years earlier, shortly before he was killed in World War I on the Western Front in Flanders. Against this backdrop, she was reluctant to attend the evening performance of Ernst Toller&#8217;s (1893\u20131939) play Die Wandlung (The Transformation) with her husband and son Hans.<br \/>\nThe production of the play was a resounding success, also for the leading actor, the young Fritz Kortner (1892\u20131970), who would later marry Kollwitz&#8217;s niece Hanna\u2014stage name Johanna Hofer. Another novelty was the innovative stage design, which dispensed with any spatial illusion.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","template":"","dt_portfolio_category":[182],"dt_portfolio_tags":[],"class_list":["post-15257","dt_portfolio","type-dt_portfolio","status-publish","hentry","dt_portfolio_category-room-3","dt_portfolio_category-182","description-off"],"_links":{"self":[{"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/dt_portfolio\/15257","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/dt_portfolio"}],"about":[{"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/types\/dt_portfolio"}],"author":[{"embeddable":true,"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/comments?post=15257"}],"version-history":[{"count":1,"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/dt_portfolio\/15257\/revisions"}],"predecessor-version":[{"id":15259,"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/dt_portfolio\/15257\/revisions\/15259"}],"wp:attachment":[{"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/media?parent=15257"}],"wp:term":[{"taxonomy":"dt_portfolio_category","embeddable":true,"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/dt_portfolio_category?post=15257"},{"taxonomy":"dt_portfolio_tags","embeddable":true,"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/dt_portfolio_tags?post=15257"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}