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Max Reinhardt was born Max Goldmann on September 9th, 1873 in Baden, near Vienna. He was the oldest of the seven children born to Wilhelm and Rose Goldmann, an Orthodox Jewish couple. With his only brother, Edmund, young Max played long hours with puppets and from their balcony watched the real puppets in the streets. "He was educated at the Untergymnasium, and was in a banking business till seventeen" (Carter 33).
"Though his parents were remote from theatrical life, they were sympathetic to his fascination with the actors of the Vienna Burgtheater, and, at the urging of one of these, they allowed their son to exchange his boredom as a bank clerk for the excitement of drama school" (Britannica). Although he proved to be an inhibited actor,
. . .
om this moment his progress was assured. " "Reinhardt was the first!
major producer to use this combination of large and small theater, and it was he who virtually instituted experimentation" (Brockett 213). No part was ever etched in stone for his actors and he did not believe in the star system" (3 Salient Facts). By the end of 1904, he had directed 42 plays. His methods and techniques are copied even by the most professional directors.
On January 1, 1903 he left Brahm and his ensemble for good in order to begin concentrating on his directorship and own personal style. His ability to reach his performers was incredible.
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**Bibliography**
. He appreciates his actors and is thankful for them. "The Miracle, a work involving more than 2,000 actors, musicians, dancers, and other personnel and without dramatic dialogue, was a modern-day reunification of drama and ritual. He would soon direct his first production Ibsen's "Love's Comedy" in 1900. He managed 30 different theaters in his lifetime" (xs4all).
When Reinhardt died in 1943 he left behind him a legacy for theater.
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