A. de Herz
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Adolf Edmund George de Herz, commonly shortened to A. de Herz, also rendered as Hertz and Herț (December 15, 1887 – March 9, 1936), was a Romanian playwright and literary journalist, also active as a poet, short story author, and stage actor. He was the scion of an upper-class
Controversy followed Herz during the early 1910s, when his writing raised suspicions of plagiarism. A vaster controversy came with
The financially insecure Herz continued to publish plays and translations, embarking on a lasting collaboration with Constantin Tănase, and writing a revue for Josephine Baker. Starring in his own plays, he also served for a while as editor of a cultural supplement, Adevărul Literar și Artistic, then briefly as head of Dimineața daily and as interviewer for the Radio Company. Herz oversaw the directorial debut of Sică Alexandrescu, who became his production and writing partner in the 1930s; he also ensured Zaharia Stancu's literary breakthrough, and his own daughter Kuki's debut in acting. Eventually, Herz accepted appointment as chair of the National Theater Craiova in 1930, while continuing to work in other fields, and debuting as a talking-picture screenwriter.
Toppled by actors' protests and political intrigues in 1935, Herz was increasingly disfavored by critics, who discussed his creative decline into a formulaic craft. He died early the following year, after a battle with
Biography
Early life
Born in
The Herzes were
As Herz himself recalled later in life, he was "born an actor", and from age six or seven regularly attended premieres and then, upon returning home, improvised scenes for his family.
For two years,
After completing high school in 1907, Herz entered the literature and philosophy faculty of the University of Bucharest, where he was a good student and drew favorable notice from professors such as Titu Maiorescu, Mihail Dragomirescu and Pompiliu Eliade.[15] His verses first appeared in print in 1906, hosted by Luceafărul, followed by similar pieces in Sămănătorul and Vieața Nouă.[3] Critic Nicolae Iorga mentioned a characteristic poem about Iliaș Rareș, signed as Dinu Ramură and composed in "monotonous alexandrines".[28] These and other early experiments in verse drama were heavily inspired by the writings of Alexandru Davila, to the point of imitation.[29] According to Dragomirescu, they provide the only sample of a traditionalist theater in line with Sămănătorul commands, but are lacking in dramatic effect: Herz's "pitiful" contributions had not preserved classical unities.[30] Despite such reviews, the works made Herz a respected figure at his school, and provoked his jealous classmate, Alexandru Kirițescu, to begin his own literary career—initially, much less successfully.[31]
After being accepted at Vieața Nouă, Herz moved into
Breakthrough
Several of these texts were staged by the
Herz returned to Bucharest with Păianjenul, which was an "unparalleled"[45] or "great success"[31][46] on its premiere. According to Livescu and critic Ioan Massoff, it became an absolute triumph for both the author and the lead actors, Maria Giurgea and Tony Bulandra.[47] Around that time, he reportedly drew a profit of almost a million lei per play, which was an unprecedented achievement.[48] In Păianjenul, a widow pretends to be "debauched" so as to seem more fashionable. According to the literary scholar George Călinescu, the theme and layout prefigure Luigi Pirandello, but also reinstate old favorites of the public.[49] Likewise, Lovinescu suggests that Păianjenul is largely a copy of Roberto Bracco's Perfetto amore, but mutated into the realm of comedy. The result, however, is superior, and itself a "model for salon comedies".[42] Lovinescu's hypothesis about Bracco and Herz was at the center of a plagiarism scandal.[50] Other writers maintained favorable opinions of Păianjenul: Livescu finds in it both of Herz's faces, "the poet and the humorist", joined with "clear precision in creating scenarios and a technique that is anything but banal";[51] while Massoff sees it as "the first and perhaps the best of Romania's salon comedies".[52] The same is argued by theatrologist Vera Molea, who proposes that Păianjenul remains "the most accomplished writing by the prolific A. de Herz."[53]
As noted by scholar Mircea Popa, Herz was a renowned journalist in his time, but also had significant contributions to the development of Romanian theatrical life, through both his magazines and the plays he wrote.
Herz was a founding member of the
Also in 1912, Herz's adaptation of Henri Murger's Kind Old Man premiered at the National Theater.[66] This was repeated in 1914, when the same troupe staged Herz's version of L'Apôtre, by Paul Hyacinthe Loyson.[67] During those years, Herz also contributed to Flacăra, Viața Românească, Dimineața, Adevărul, Epoca and Rampa.[1] For a while in 1914, Herz and painter Jean Alexandru Steriadi published their a popular magazine, Ilustrațiunea Română.[68] In 1915, together with Ioan Alexandru Brătescu-Voinești, he co-wrote another play, Sorana.[2][69][70][71] Also then, he produced at Comoedia the play Voiaj în China ("Voyage to China"), allowing a 17-year-old Sică Alexandrescu to take over as director.[72] His other work included theater criticism; he still used the pseudonym Dinu Ramură, alongside Mira Dăianu and Dinu.[15]
Becoming a "Germanophile"
Herz's career was mired in controversy during Romania's involvement in World War I. The first two years were of cautious neutrality, during which Romanian public opinion divided itself between supporting the Entente or the Central Powers. Initially, Herz was friendly toward the former, producing in July 1915 a montage of patriotic verse by Eftimiu and Goga. Called Cântarea României ("Romania's Song"), and starring Édouard de Max, it hinted to the annexation of Bukovina and Transylvania.[13] Epigrammatist Cincinat Pavelescu describes a latent rivalry between Herz and Goga, after the latter had experience major success with his own Transylvania-themed plays. Pavelescu himself stoked such tensions by composing verse which made unflattering allusions to Herz's "Semitic" origin.[73] It read:
De când trecu Carpații Goga, |
With Goga crossing over mountains in a rage, |
Before December 1915, Herz had written the scenario for a café-chantant, Melcul ("The Snail").[50] Noticed for his contribution to the revue genre, Herz was also working with Nicolae Niculescu-Buzău, the star of anti-war plays, at the Alhambra.[74] He also contributed the libretto for an operetta, Dragostea Corinei ("Corina's Love"), with Ionel G. Brătianu as his composer. By January 1916, the latter was being performed by the Grigoriu troupe with "extraordinary success".[75] According to Niculescu's recollection, Herz proved "rather good" at creating "dialogue, humorous prose and misunderstandings".[76]
Over those months, Herz had drifted toward support for the Central Powers, writing theatrical columns in Steagul newspaper and having friendly encounters with a "Germanophile" agent, Alexandru Bogdan-Pitești.[77] From August 1916, the Treaty of Bucharest formalized Romania's alliance with the Entente. This interrupted Herz's work for the musical theater. By October, "a major newspaper from the Capital" employed him to write a reportage on the planned execution of draft evaders at Craiova.[20] While there, he befriended Radu Demetrescu-Gyr, an eleven-years-old aspiring poet, teaching him about meter and encouraging him to write more.[20] Herz returned to his activities in Bucharest, and, in late 1916, took into his personal care the actor Ion Iancovescu, who had been wounded on the front and, upon his return to civilian life, had been left homeless.[78]
In December 1916, the city was conquered by the Central Powers, beginning almost two years of foreign occupation; Herz did not join in Bucharest's evacuation. After May 1917, Herz became a contributor to Săptămâna Ilustrată magazine, which was a main component of the German propaganda apparatus in Romania.[79] In June of that year, he met Lilly Tănăsescu, and married her in July.[2] An operetta performer based in Craiova, she was the daughter of noted actor Ion Tănăsescu.[80] She continued to act in shows at Gabrielescu's theater until the birth of their first child, daughter Alexandra Maria.[2] Eftimiu reports that Herz felt grateful toward Lilly, who had stood by him "in times of need", and fell for her instead of prospecting "the rich bourgeoisie of Bucharest".[33] As reported by Massoff, Herz radically changed his philandering ways and "turned bourgeois", spending much time with his family and especially his two "adored" children, Alexandra "Kuki" and Nonu.[81]
Under the caretaker, Germanophile administration set up by
On September 27, Herz, together with Liviu Rebreanu, had inaugurated a cultural daily, Scena ("The Stage"), which had contributions from a diverse selection of writers: Davila, Felix Aderca, Victor Anestin, Sarina Cassvan, Vasile Demetrius, Gala Galaction, Lucrezzia Karnabatt, Adrian Maniu, Barbu Nemțeanu, I. Peltz, Camil Petrescu, Tudor Teodorescu-Braniște, and I. C. Vissarion.[86] The editorial staff included, among others, Scarlat Froda, Barbu Lăzăreanu, Ilie Moscovici, and Alexandru Terziman.[87] As noted by Boia, Herz's publication of a theatrical daily "would have been a true feat even under normal circumstances"; "leaving aside his excessive language, which can be explained in context, the fact remains that [Herz] was a greatly capable chief for a cultural gazette and animator of cultural life under stressful conditions."[88]
According to Peltz, Herz displayed an "extraordinary power of conviction, he was instantly likeable." "Never infected with the microbe of envy", he was enthusiastic about the work of others, promoting in particular the writer and "son of peasants" Alexandru Bucur.
Scandals and trial
Scena had a "Germanophile" line; Herz's own articles reinforced this orientation. They include an April 1918 praise for Ludwig von Gebsattel, who led Germany's censorship office in occupied Romania. Therein, Herz argued that Gebsattel had presided upon the survival of Bucharest's theaters.[92] In February 1918, Scena also hosted Coșbuc's last-ever poem, "The Eagle", which probably alludes to Romania's wartime disasters.[93] Other pieces attacked Ententist writers and theater professionals who had resettled in Iași, singling out Diamandy, Ranetti, Sadoveanu, Nicolae N. Beldiceanu, Petre Locusteanu, and Corneliu Moldovanu.[94] Other members of this exile cohort did not resent Herz for his stances: a December 1917 letter sent from Iași by actor Alexandru Mavrodi shows that he regularly read Scena, and that he was glad to learn of Rândunica's "apparent success".[95]
Rebreanu quit Scena after only three weeks,[96] and, moving on to become staff critic for Constantin Stere's Lumina, panned Boerul Buflea and Rândunica.[85] He soon ran afoul of the occupying authorities, and suspected that Herz was denouncing him.[97] The two remained rivals: as late as 1935, Herz claimed that he had kept the copy of a revue entirely authored by Rebreanu, written in a style that would have harmed Rebreanu's reputation.[26] In March, Comoedia Theater produced Herz's new play, Vălul de pe ochi ("A Veil over One's Eyes"), with all proceeds going to the orphans of war.[98] Herz was still in Bucharest following the Romanian surrender, and expected there the return of professionals from their exile in Iași.[99] A coalition of Conservative Germanophiles took over, with Alexandru Marghiloman as Prime Minister. Following this move, Scena began receiving contributions from decommissioned soldiers, including George Topîrceanu, Avram Steuerman-Rodion,[100] and H. Bonciu.[101]
During that summer, several other of Herz's revues were produced at Ambasadori, including: Fata cu trei case din dafin ("Three-housed Girl of the Laurel Tree"), Țațo nu te supăra ("Frump Be Not Mad"), and Bac (from "
Scena's politics became the subject of debates and scrutiny with the November Armistice: the paper ended publication on the very day of its signing,[13] by which time the Marghiloman government had already fallen. Herz was arrested at Galați in early December 1918, during a general clampdown on "Germanophiles". According to Marghiloman, the new government did not necessarily want him tried, but an Ententist journalist, Gheorghe Matei Corbescu, pulled the strings.[107] Herz was formally deemed by the Government Commissioner as "posing a danger to the Allied troops"; he was kept under guard at Hotel Modern, and interrogated alongside Dumitru Karnabatt, Dem. Theodorescu, and Saniel Grossman.[108] "The Baron" was then sent to Văcărești Prison, awaiting trial. While there, he witnessed the death in custody of I. C. Frimu, an activist of the Socialist Party. His testimonial on the subject argues that Frimu was "mercilessly beaten", which compromised his immunity and aggravated his typhus.[109] At Văcărești, the playwright was also reunited with Bogdan-Pitești and met Ioan Slavici, who described "baron de Herz" as a "lively, spirited, sweet youth".[110] Herz would later inspire the aged Slavici to write his memoirs, including details of his encounters with Mihai Eminescu.[111] Herz claimed that Slavici had privately revealed himself as the real author of Făt-Frumos din lacrimă, which is generally attributed to Eminescu.[112]
In February–March 1919, Herz was
Also in 1919, Rebreanu completed the biographical novel Calvarul ("Ordeal"), which portrays Herz as "Henric Adler", the antagonist.[116] During that period, Herz was also being publicly exposed as Jewish. As noted by the newspaper Afirmarea, Herz viewed himself as a "God-fearing Christian", and the allegation caused him "much suffering".[117] In late 1923, Ranetti's review Furnica noted Herz's association with a rival paper, Masca. Ranetti derided Herz as a "Semitic aristocrat", calling attention to his "disgusting behavior under the occupation"; he demanded that Masca be censored.[118] In 1924, Herz's name was included on a black list of Jewish journalists, which was circulated by the Transylvanian press. An official organ of the Vad Orthodox Diocese published it with a note that "these Jews are hoping to influence Romanian public opinion";[119] Clujul weekly identified Herz as an agent of Jewish "subversion", demanding that he leave the Romanian press.[120]
Recovery and failure
Herz resumed his other activity in the interwar's Greater Romania, first with translations of composer biographies by Romain Rolland (in 1918, as the first-ever translation into Romanian of a text by Rolland)[121] and Houston Stewart Chamberlain.[1] From 1920 to 1924, he put out Adevărul Literar și Artistic, while also penning contributions to Gândirea.[1] According to his friend Gyr, as an editor he was superior to the "vulgar" Mihail Sevastos: under Herz's tenure, Adevărul Literar și Artistic remained "the meeting spot of all literary talent", with contributions that were "lively and varied".[20] From this position, Herz approved for print the first poems ever published by Zaharia Stancu.[122] In 1923, Herz joined Caton Theodorian's Society of Romanian Dramatic Authors, serving as its censor, alongside Eftimiu.[123] He returned to the stage with various new plays, including Mărgeluș ("Tiny Bead", 1921) and Șeful Gării ("The Station-Master", 1924); he also returned to Flacăra, publishing therein fragments from a historical play, Colivia de aur ("A Golden Cage", 1923).[3] In 1922, fragments from his Păianjenul, translated into German, appeared in the Bukovina magazine Die Brücke.[124]
Călinescu reserves some praise for Mărgeluș, a "more literary" play, in which the unborn child of a typist holds together her relationship with an upper-class youth.[55] In Sburătorul, Felix Aderca also gave Mărgeluș a positive review, describing it as a "modern drama, classical in its simplicity", but also a discreet and gifted comedy. Aderca remarked in particular Herz's wordplay, which, he argued, made the writer a companion of Caragiale and Molière.[125] As argued by the Transylvanian review Cele Trei Crișuri, Mărgeluș restated Herz's "rare qualities", provoking "thunderous applause".[126] The play was first produced by Regina Maria Theater, under the twin direction of Niculescu-Buzău and M. Antonescu. The latter also appeared in the title role, to positive reviews.[125][126] Before 1922, the play had 78 reprisals, the biggest hit on Romania's theater circuit for that season.[127] Manager Ludovic Dauș also bought the play for Chișinău National Theater, which went on a regional tour of Bessarabia in 1924.[128]
After 1920, Herz reaffirmed his traditionalism as a theater critic, being vocal as a critic of Expressionist tendencies, and specifically of director Karlheinz Martin.[129] Martin was his direct competitor: during his stay in Bucharest, he ran three Expressionist plays with at least 74 stagings between them.[127] Writing in 1925, theorist Ion Sân-Giorgiu argued that Eftimiu and Herz's overall output could restore Romanian drama, chasing away the "mood of superficiality".[130] Such appraisals were contrasted by other observers. Among the traditionalists, Iorga remained critical of Herz's works, viewing them as "well-made plays" with "indifferent characters", marked by a "strain of cynicism". As seen by Iorga, Herz remained indebted to Adrien Bernheim and Georges de Porto-Riche.[131] Criticism also came from the avant-garde: in 1924 Scarlat Callimachi singled out Herz and Camil Petrescu as dramatists who could only "garner applause from lunch ladies" and who therefore "must disappear".[132]
Alexandrescu notes of Herz: "The war cancelled him as a dramatic author. His comedies had a light satirical note, they were not profound theater but rather one of the Parisian boulevardier kind, albeit of good quality, like those comedies by de Flers and Caillavet."[72] These years also marked new contributions to the revue genre, for which he found a new patron, the actor-producer Constantin Tănase. Herz's "heavyweight" role in the interwar revue was recorded in theatrical verse by a colleague, Ion Pribeagu.[133] During 1923, Tănase appeared as Acarul Păun in Herz's Care dă mai mult? ("Who Pays More?"), a satirical take on the railway catastrophe at Vintileasca.[134] The 1924 hits Ce-are a face? ("What's It to You?") and Pân'aici ("Up to Here") were again showcased by Tănase. Both were collective works, with Herz credited alongside "Durstoy" (or "Dur Stoy"),[135] later revealed as a writing duo formed by Gheorghe Druma and Victor Stoicovici.[136]
Herz also attempted a return to mainstream theater with the 1925 plays Aripi frânte ("Broken Wings") and Seară pierdută ("Wasted Evening").[3] The former, written in verse, depicted events from the life of Ștefăniță, a 17th-century Moldavian exile in the Holy Roman Empire.[137] Also in 1925, alongside Dragomirescu, Brătescu-Voinești, Rebreanu and V. Al. Jean, Herz was an executive of Filmul Românesc society, dedicated to the promotion and moral review of Romanian cinema productions.[138] Around that time, he became editor-in-chief of Dimineața daily.[53] This allowed him to publish a lavish praise of his own Păianjenul, which was being produced by Aurel Ion Maican at Brăila City Theater.[139] Also that year, Maican directed a new production of Mărgeluș.[140] Moving on from Dimineața, Herz worked as a broadcaster for the newly inaugurated Radio Company, with a series of interviews with actors.[2] Later contributions for Tănase's revues were Din toată inima ("With a Full Heart")[141] and Între ciocan și nicovală ("Between a Rock and a Hard Place"), co-authored with Nicolae Vlădoianu; both were performed by and his troupe in 1928. The Herz–Vlădoianu collaboration used talents such as Alexandru Giugaru and a number by the Romanian version of Mutt and Jeff; its "dizzying rhythm" garnered "sidesplitting laughter".[142] Alongside Vlădoianu and Nicolae Kirițescu, Herz, using the pen name "Puck", also wrote the show Negru pe alb ("Black on White"), made famous for starring an African American dancer, Josephine Baker.[143]
His final works for the stage included the more conventional comedy Omul de zăpadă ("Snowman"). It depicted the unscrupled playboy Mihai Corvin finding real love with the inexperienced Viorica.[25] Taken up by the National Theater Bucharest in December 1927,[25] it was also performed at provincial theaters. The main production featured Nicolae Soreanu and Ion Finteșteanu; Herz himself appeared in his own play in the touring version.[144] Omul de zăpadă was followed by another play, Încurcă lume ("The Fumbler"), commissioned by Alexandrescu for his Teatrul Mic.[72] He was involved in its 1929 staging, appearing in the lead role.[72][145][146] It was published alongside volumes of short prose: Noapte bună ("Good Night", 1929)[1] and Om discret ("A Discreet Man", 1931). His former colleagues at Dimineața recommended the latter as "healthy humor and sound literature", "a prized contribution to out humorous prose."[147] Herz's final contributions as a translator include a Romanian rendition of William Shakespeare's Much Ado About Nothing. It was done from the French version, and staged by the National Theater in 1928–1929, with Gusty as director.[148]
Final years
In June 1930,[2] Herz became manager of the National Theater Craiova. According to Massoff, he took this job out of sheer necessity, and it proved a "great misfortune", impeding his writing.[149] While there, "the Baron" undertook efforts to secure a new building, worked to improve relations between management and actors, hired new actors and established a choir.[23] Funding for the theater was cut due to the ongoing economic crisis; Herz responded by paying actors' wages from his own pocket.[2] In December 1934, the satirists at Veselia magazine ridiculed Herz for allowing his actors to perform in Bucharest revues, and also for using the Craiova stage for self-promotion: "The [season's] opening show will comprise fragments from Păianjenul, Omul de zăpadă, Mărgeluș etc., as read out by the author himself".[150] His adolescent daughter Kuki became a troupe regular, appearing as Martha in The Father[26] and as Petre the Dwarf in Aripi frânte.[137] In 1933, she vacationed with her father in Bușteni, at a retreat organized by the SSR. She befriended novelist Marta Rădulescu, who described her as "Craiova Theater's child prodigy".[151] The dramatist's son, Nonu, trained as a violinist.[26]
Prospects of bankruptcy and political intrigue eventually led to Herz's sacking in 1935.[23] From 1932, journalist Eugen Constant had been highly critical of Herz's management, alleging that he was "entirely adverse to the Oltenian psyche", a "character with a Germanic coat of arms and the reputation of a streetwise authors of revues." Constant claimed that the institution was excessively promoting German plays, with "nudist displays and libidinous gestures", and also implied that Herz was guilty of financial irregularities.[152] In December 1932, the nationalist newspaper Calendarul reported with satisfaction that Herz was under investigation by the Craiova prosecutor's office; according to this source, Herz still enjoyed protection from his hierarchical superior, Alexandru Mavrodi, who "provides homes to all the con artists, and makes a mockery of our national theaters, to the minorities' enjoyment."[153]
In November 1934, an unsigned piece in Curentul alleged that Herz was "terrorizing" actors, who had not received payment since June, and that his pattern of behavior evidenced insanity. According to this report, the entire Craiova troupe went on strike, and some of its members attempted to storm into Herz's home on Unirei Highway; the incidents prompted an inquiry.[154] As noted by Gyr, "the Baron" could indeed prove himself coarse and abusive in dealing with his staff.[20] Herz himself suspected that his activity had been reported on by two fellow dramatists, Ion Marin Sadoveanu and Victor Ion Popa, though the latter rejected such rumors.[155]
One of Herz's stories was adapted into a 1934
In late 1935, Herz was living at his own villa in Floreasca, but had left it unplastered, and was considering selling it, because of his financial woes; he confessed his troubles to Rampa reporter Jack Berariu, noting that he was working on two lighthearted comedies, Mincinoasa ("Lady Liar") and Oul lui Columb ("Egg of Columbus").[160] His last known play[72] was Unchiul lui Noață ("Noață's Uncle"), produced by Alexandrescu for Teatrul Vesel in early 1936, with Grigore Vasiliu Birlic as Noață, the unassuming and ridiculous, but calculated and intelligent, property caretaker. V. Timuș of Rampa celebrated it as an "honest comedy" marking the return of Herz, "as spiritual as ever, as lively as ever". He noted that the lead role fit Vasiliu Birlic "like a glove".[161] The text was lambasted by Ion Dimitrescu of Curentul for being "very rudimentary", in particular for its dwelling on misogynistic observations and puns. Dimitrescu expressed a wish that Herz would experience a "quick jolting out of his theatrical descent."[162]
Herz and Alexandrescu also worked on another comedy, Musafirii lui Răstocea ("Răstocea's Guests"), which was left unfinished.
Legacy
Craiova's theater was closed down "for budgetary reasons" that same year.
Herz's death had left his family destitute, his townhouse and personal library having been repossessed by creditors.
Later in 1939, during
In October 1946, France's
Lilly de Herz died the same year; on Adolf's commemoration in March 1976, both his children were still alive.
Notes
- ^ ISBN 973-697-758-7
- ^ Universul Literar, Issue 4/1939, p. 8
- ^ a b c d e f g h Călinescu, p. 1018
- ^ a b Constantin D. Aricescu, Dialogŭ politicŭ intre D-nu Alexandru N... și D-nu Generalŭ Tell. Bucharest: Typogaphia Naționale, 1875
- ^ a b Corneliu Șenchea, "Nopți albe în saloanele Bucureștiului (II)", in Istorie și Civilizație, Issue 15, December 2010, p. 73
- ^ "Verzeichniß der von dem Handlsministerium am 5 Juli 1850 verliehenen ausschließenden Privilegien", in Amsblatt zur Laibacher Zeitung, Issue 191/1850, p. 1
- ^ Arthur Helps, Life and Labors of Thomas Brassey, pp. 140–145. London: George Bell & Sons, 1888
- ^ Ștefan Ionescu, "Considerații privind dezvoltarea industrială a orașului București în a doua jumătate a sec. al XIX-lea", in București. Materiale de Istorie și Muzeografie, Vol. V, 1967, p. 105; Zane, p. 396
- ^ Zane, pp. 378–379, 394, 396
- ^ Alexandre Kostov, "Banques et banquiers en Roumanie en 1876 (d'apres une enquête du 'Crédit Lyonnais')", in Revue des Études Sud-Est Européennes, Vols. XXXVII–XXXVIII, 1999–2000, pp. 141–142
- ^ "Foisior'a. Processulu Offenheim", in Federatiunea, Issues 5–6/1875, p. 17; Alexandru Ionicescu, "Petre Mavrogheni's Resignation from the Lascăr Catargiu Government (1875)", in Journal of Humanities, Culture and Social Sciences, Vol. 3, Issue 1, 2016, pp. 86–87, 89–90
- ^ "Le monde et la ville", in Le Gaulois, August 20, 1881, p. 1
- ^ a b c Boia, p. 235
- ^ a b Eftimiu, p. 60
- ^ ISBN 973-637-070-4
- ^ "Sale de L'Athénée. Jeudi le 27 Avril de 1878. Concert donné par E. A. Hubsch avec le concurs bienveillant de M-lle Mora, M-rs Edgard de Herz, Milde, Paschill et Weinetter", in Timpul, April 26, 1878, p. 3
- ^ Teodorescu et al., p. 620. See also "Salon. Literatură și arte", in Familia, Issue 29/1885, p. 29; Lucian Chișu, "Eminescu tradus", in Caiete Critice, Issue 1/2010, p. 55; Eftimiu, p. 60
- ^ Constantin Bacalbașa, Bucureștii de altă dată, Vol. III, p. 122. Bucharest: Universul, 1936
- ^ Teodorescu et al., pp. 467, 620
- ^ Universul Literar, Issue 34/1939, pp. 1, 6
- România Liberă, April 13 (25), 1886, p. 3
- ^ a b Mircea Ștefănescu, "A. de Herz (1887–1936)", in România Literară, Issue 11/1976, p. 16
- ^ a b c (in Romanian) "Herz, Adolf de", at the Alexandru and Aristia Aman County Library
- ^ a b c d e Barbu Lăzăreanu, "De toate. Debutul lui A. de Herz. Câteva volume cu autografe și caetul unui adolescent", in Dimineața, April 12, 1936, p. 24
- ^ a b c Paul I. Prodan, "Cronica teatrală. Teatrul Național – Omul de zăpadă comedie în trei acte de d. A. de Herz", in Viitorul, December 24, 1927, p. 1
- ^ a b c d e Berariu, p. 3
- ^ Aurel Baranga, "Memoriile mele. Jurnal de atelier (VI)", in Flacăra, Vol. XXVI, Issue 28, July 1977, p. 18
- ^ Iorga, pp. 156–157, 201
- ^ Dragomirescu, p. 78; Eftimiu, p. 61; Lovinescu, p. 295
- ^ Dragomirescu, pp. 78–79
- ^ a b Grigore Constantinescu, "Jurnalul Artelor. Centenar Kirițescu", in Argeș, Vol. XXII, Issue 4, April 1988, p. 12
- ^ Dragomirescu, p. 99
- ^ a b Eftimiu, p. 61
- ^ Dragomirescu, p. 167; Lovinescu, p. 318
- ^ Barbu Theodorescu, "Teatrul francez în România", in Revista Fundațiilor Regale, Vol. VII, Issue 2, February 1940, p. 338
- ^ a b c (in Romanian) Nicolae Scurtu, "Restituiri. Titu Maiorescu – actualitatea autorității lui critice", in România Literară, Issue 49/2017
- ^ Călinescu, p. 1018; Teodorescu et al., p. 620
- ^ Eftimiu, pp. 60–61; Massoff, pp. 205, 207, 213, 216
- ^ Livescu, p. 119. See also Lovinescu, p. 318; Teodorescu et al., p. 620
- ^ a b Corneliu Carp, "Cronica teatrală. Biruința dlui Herz", in Tribuna, Issue 243, November 1911, p. 7
- ^ M. Faust-Mohr, Amintirile unui spectator. Mișcarea teatrală în capitală între anii 1899 și 1910, p. 149. Bucharest: Leopold Geller, 1937
- ^ a b Lovinescu, p. 318
- ^ a b "Litere–Științe–Arte. După reclamă", in Opinia, November 17, 1911, p. 2
- ^ Silvestru, p. 90. See also Teodorescu et al., p. 620
- ^ Niculescu-Buzău, p. 175
- ^ Boia, p. 235; Eftimiu, p. 60; Peltz, p. 22
- ^ Livescu, pp. 130–131; Massoff, pp. 344–345
- ^ Rădulescu, p. 14
- ^ Călinescu, pp. 721, 748
- ^ Universul Literar, Issue 50/1915, p. 4
- ^ Livescu, pp. 130–131
- ^ Massoff, pp. 344–345
- ^ a b Molea (2008), p. 40
- ^ Călinescu, pp. 721, 749
- ^ a b Călinescu, p. 721
- ^ Lovinescu, p. 319
- ^ B., "Teatru. Plecarea lui Davilla. Piesele: Onoarea, Bunicul și Romeo și Julietta", in Luceafărul, Issue 2/1914, p. 59
- ^ Rodion, "Oameni și lucruri. Ei între ei", in Opinia, December 11, 1913, p. 1
- Universul Literar, Issue 28/1914, p. 5
- ^ Călinescu, pp. 633, 634
- ^ Eftimiu, p. 21
- ^ "Cronică dramatică. Societatea autorilor dramatici", in Tribuna, April 11, 1911, p. 6
- ^ "Sărbătorirea maestrului Caragiale. Festivalul de la Teatrul Comoedia", in Românul (Arad), Issue 26/1912, p. 7
- ^ "Inaugurarea statuiei lui C. Negri", in Românul (Arad), Issue 136/1912, p. 3
- ^ Prințul Ghytza, "Șeful de cabinet al D-lui Xenopol", in Furnica, Issue 8, October 1912, pp. 10–11
- ^ Livescu, p. 127; Massoff, p. 213
- ^ Massoff, p. 218
- ISBN 978-973-32-0922-5
- ^ ISBN 978-606-599-692-2
- ^ ISBN 973-697-758-7
- ^ Călinescu, pp. 581, 1018; Iorga, pp. 173, 201; Livescu, pp. 138, 143; Massoff, p. 220; Teodorescu et al., p. 620
- ^ a b c d e f g "Autor și regisor. Regisorul Sică Alexandrescu despre autorul A. de Herz. Cu prilejul premierei comediei Mărgeluș la Teatrul Comoedia", in Rampa, April 5, 1942, p. 5
- ^ a b Cincinat Pavelescu, "Mărturisiri", in Viața Românească, Vol. IX, Issue 3, March 1942, p. 525
- ^ Niculescu-Buzău, pp. 181, 184
- ^ "Informațiuni. Dragostea Corinei", in Adevărul, January 16, 1916, p. 3
- ^ Niculescu-Buzău, p. 181
- ^ Boia, pp. 189, 235
- ^ N. Constantinescu, "Cu Ion Iancovescu despre el și despre alții", in Rampa, July 7, 1928, p. 3
- ^ Adriana Dumitran, "Recenzii. Adrian-Silvan Ionescu, Războiul cel Mare. Fotografia pe frontul românesc, 1916–1919", in Studii și Cercetări de Istoria Artei. Artă Plastică, Vol. 5, 2015, p. 252
- ^ Camil Petrescu (contributor: Florica Ichim), Publicistică, Vol. I, p. 428. Bucharest: Editura Minerva, 1984. See also Eftimiu, p. 61
- ^ Massoff, pp. 344–346
- ^ Marghiloman 2, pp. 506–507
- ^ a b Molea (2011), pp. 89, 100
- ^ Șerban, p. 128
- ^ a b Cubleșan, pp. 5–6
- ^ Boia, pp. 105, 135, 235–236, 290
- ^ Peltz, pp. 22–33
- ^ Boia, pp. 235, 237
- ^ a b Peltz, pp. 22–23
- ^ Livescu, p. 131
- ^ Massoff, p. 345
- ^ Boia, p. 236
- ^ Boia, p. 212
- ^ Boia, pp. 236–237. See also Călinescu, p. 729
- ^ Ionuț Niculescu, "Arhiva Aristide Demetriade. Din vremea cînd se pregătea Marea Unire", in Argeș, Vol. XXIII, Issue 11, November 1988, p. 13
- ^ Boia, p. 290
- ^ Cubleșan, pp. 5–6; Moldovan, p. 50; Lucian Vasile Szabo, "Liviu Rebreanu, provocări jurnalistice", in Caiete Critice, Issue 5/2015, p. 40
- ^ Teodorescu et al., p. 620
- ^ Molea (2011), p. 104
- ^ Boia, pp. 105, 318, 325
- ^ Alina Ianchiș, "Un excentric cu pretenții: H. Bonciu", in Caiete Silvane, August 2010
- ^ Adrian-Silvan Ionescu, "Divertisment la vreme de război: spectacole cinematografice în Bucureștii ocupați (1916–1918)", in Studii și Cercetări de Istoria Artei. Teatru, Muzică, Cinematografie, Vols. 10–11, 2016–2017, pp. 101–130
- ^ Șerban, pp. 128–130
- ^ Moldovan, p. 50
- ^ "Memento. Calendar istoric și literar", in Universul, June 1, 1936, p. 2
- ^ "Litere Arte Varia", in Mișcarea, September 27, 1918, p. 2
- ^ Marghiloman 4, p. 168
- ^ Lucian-Vasile Szabo, "Grabă la arestarea jurnaliștilor", in Familia, Issue 10/2017, p. 21
- ^ Valeria Stan, Florian Tănăsescu, Marian Ștefan, "1871–1971. Am iubit și am admirat pe cel care se chema I. C. Frimu", in Magazin Istoric, October 1971, pp. 4–6
- ^ Boia, p. 342
- ^ Emil Isac, "Eminescu și Ardealul", in Almanahul Literar, Vol. I, Issues 2–3, January–February 1950, p. 19
- Viața Romînească, Vol. XVIII, Issue 1, January 1926, pp. 126–127
- ^ Boia, p. 339
- ^ Boia, pp. 290, 339, 342
- ^ a b Călinescu, p. 581
- ^ Cubleșan, p. 5; Moldovan, p. 50. See also (in Romanian) Ion Simuț, "Calvarul lui Liviu Rebreanu – romanul unei disculpări (II)", in România Literară, Issue 20/2004
- ^ a b Const. Gh. Popescu, "Răboj", in Afirmarea, Issue 2/1936, p. 31
- ^ George Biciușcă, "O mică răfuială", in Furnica, Issue 51, November 1923, p. 2
- ^ "Gazetari români!", in Renașterea, Issue 27/1924, p. 7
- ^ "Uneltitorii noștri subversivi", in Clujul, Issue 6/1924, p. 2
- ^ Șerban Cioculescu, "100 de ani de la nașterea lui Romain Rolland", in Gazeta Literară, Vol. XIII, Issue 5, February 1966, p. 8
- ^ Zaharia Stancu, "Decada Cărții. Însemnări pe marginea unei colecții pentru școlari", in Munca, December 27, 1953, p. 3
- ^ Silvestru, p. 87
- ^ "Reviste. Die Brücke", in Cele Trei Crișuri, Vol. III, Issues 10–11, June 1922, p. 176
- ^ a b Felix Aderca, "Cronica literară. Teatrul Regina Maria. Mărgeluș 3 acte", in Sburătorul, Issue 12/1921, pp. 291–292
- ^ a b P. A. G., "Teatru. Cronica teatrală. Echipa M. Antonescu — Niculescu-Buzău", in Cele Trei Crișuri, Vol. III, Issues 10–11, June 1922, pp. 171–172
- ^ a b Remus Zăstroiu, "Un regizor german în România", in Anuar de Lingvistică și Istorie Literară, Vol. LVI, 2016, p. 67
- ^ C. U., "Scrisori dela orașe. Din Bălți", in Cultura Poporului, Issue 90/1924, p. 5
- OCLC 7463753
- Universul Literar, Issue 20/1925, p. 3
- ^ Iorga, p. 201
- ^ Scarlat Callimachi, "Revista Punct", in Punct, Issue 4, December 13, 1924, p. 1
- ^ Cervatiuc, p. 21
- ^ Molea (2011), p. 91
- ^ Molea (2011), pp. 91, 101
- ^ Aurel Storin, "Teatru. O vorbă despre teatrul de revistă", in România Literară, Issue 15/1992, p. 16
- ^ a b Const. Jaleș, "Deschiderea stagiunei Teatrului Național din Craiova. Aripi Frânte: Dramă în 3 acte în versuri de A. de Herz", in Rampa, January 24, 1934, p. 4
- ^ "Cronică", in Transilvania, Vol. 57, Issue 2, February 1926, p. 82; B. T. Rîpeanu, "Scriitorii români și filmul. Ion Minulescu. Adversar înverșunat, adversar îmblînzit, al cinematografului", in Cinema, Vol. V, Issue 1, January 1967, p. 31
- ^ Molea (2008), pp. 40, 55
- ^ Molea (2008), p. 56
- ^ "Teatru", in Românul (Arad), Issue 6/1928, p. 2; Cervatiuc, pp. 63, 66
- ^ V. Timuș, "Cronica spectacolelor. Teatrul 'Cărăbuș': Între Ciocan și Nicovală revistă în 2 acte și 12 tablouri de d. A. de Herz și N. Vlădoianu", in Rampa, August 6, 1928, p. 6
- ^ Molea (2011), p. 92
- ^ Cervatiuc, pp. 74–75
- ^ "Autor și actor", in Realitatea Ilustrată, Issue 6/1929, p. 6
- ^ Universul Literar, Issue 10/1942, p. 2
- ^ M. Gr. & Hr., "Cărți și reviste. In țară au apărut...", in Dimineața, May 8, 1931, p. 3
- ^ Florica Ichim, "Shakespeare în România (Partea întâi)", in Teatrul Azi, Issues 3–4/2016, p. 16. See also Massoff, p. 242
- ^ Massoff, pp. 345–346
- ^ "Pe foi de calendar. 13 decembrie. D. A. de Herz", in Veselia, Vol. XLIII, Issue 50, December 1934, p. 2
- ^ Rădulescu, p. 15
- ^ Eugen Constant, "In jurul Teatrului Național din Craiova", in Provincia Literară, Vol. I, Issue 3, December 1932, pp. 18–19
- ^ D. P., "Mavrodi își face de cap. Alți borfași teatrali la parchet. Mavrodi anchetează justiția", in Calendarul, December 14, 1932, p. 2
- ^ "Aventurierul A. de Herz trebue internat la ospiciu?.. Scandalul de la Teatrul Național din Craiova", in Curentul, November 19, 1934, p. 2
- ^ Victor Ion Popa, "Scrisori inedite", in Teatrul, Vol. XI, Issue 7, July 1966, p. 81
- ISBN 978-606-668-212-1
- ^ "Un nou an de activitatea la Teatrul Național și Opera Română din Cluj", in Gazeta Ilustrată, Issue 11–12/1934, p. 176
- ^ Universul Literar, Issue 33/1942, p. 2
- ^ Molea (2011), p. 113
- ^ Berariu, passim
- ^ V. Timuș, "Cronica dramatică. Teatrul 'Vesel': Unchiul lui Noață, comedie în 3 acte de d. A. de Herz", in Rampa, January 23, 1926, p. 4
- ^ Ion Dimitrescu, "Cronica dramatică. Teatrul Vesel: Unchiul lui Noață, comedie în 5 acte de d. A. de Herz", in Curentul, January 23, 1936, pp. 1–2
- ^ Fulmen, "Insemnări. Copiii scriitorului", in Dimineața, March 13, 1936, p. 3
- ^ Moldovan, p. 48
- ^ Gheorghe G. Bezviconi, Necropola Capitalei, p. 153. Bucharest: Nicolae Iorga Institute of History, 1972
- ^ a b "Ancheta revistei Teatrul. Locul și rolul dramaturgiei azi", in Teatrul, Issue 10/1973, p. 19
- ^ Massoff, p. 344
- ^ Eftimiu, p. 59
- ^ Molea (2011), pp. 118, 121
- ^ Claudia Millian, "Carnetul meu. Orfanii lui A. de Herz", in Adevărul, May 21, 1937, p. 1
- ^ Cr., "In slujba unei cauze. Incă odată [sic]: despre problema teatrului", in Înnoirea, Issue 3/1938, pp. 3–4
- ^ Ramona Miron, "Aspecte ale Focșanilor în anii dictaturii carliste (1938 – 1940)", in Cronica Vrancei, Vol. XI, 2011, p. 201
- ^ Niculescu-Buzău, pp. 215–216
- Universul Literar, Issue 24/1944, p. 2
- ^ "Literatură... Artă... Știință... Încurcă lume", in Opinia, October 17, 1946, p. 2
- ^ Pătrașcu Ion Sârbul, "Cronica dramatică. Omul de zăpadă", in România Viitoare, Issue 38/1947, p. 3
- ^ Simion Alterescu, "Omul de teatru Mihail Sebastian", in Contemporanul, Issue 22/1955, p. 3
- ^ G. Cristobald, "La radio, poeţi și compozitori anonimi", in Gazeta Literară, Vol. V, Issue 12, March 1958, p. 7
- ^ Niki Atanasiu, "La masa rotundă. Repertoriul amatorilor", in Teatrul, Vol. XI, Issue 2, February 1966, p. 19
- Scînteia Tineretului, June 8, 1967, p. 3
- România Liberă, March 9, 1976, p. 4
- ^ Ionuț Niculescu, "Cronica dramatică. Piesa românească în premieră. Teatrul Național din Craiova. Omul de zăpadă de A. de Herz", in Teatrul, Issue 6/1976, p. 49
- ^ Radu Albala, "Cronica dramatică. Alte premiere pe scenele din țară. Teatrul Municipal din Ploiești. Încurcă-lume de A. de Herz", in Teatrul, Issue 4/1978, p. 59
- ^ Cronicar, "Breviar", in Luceafărul, Vol. XXVI, Issue 9, March 1983, p. 2
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