Liesel Simon has made the puppet theatre art. Her path led her in the twenties on tour through Germany and eventually to the newly created broadcasting, in which your puppet hour was from 1925 to a permanent place. But then the Nazis, Liesel Simon from expelled, because she was a Jew: The Kasper and his doll mother wandered and met on 14. November 1941 by ship in New York.

Joe rubbed seeds

editor in the Rhein-Main-Zeitung.

F. A. Z.

A German-speaking émigré magazine, the arrival, said: “Liesel Simon is here now. You know, you, the ,aunt Liesel‘, which ran for ten years and more the children’s hour at the southwest German radio in Frankfurt. With your own punch and Judy show by the whole of Germany went and in all the larger cities, children and adults with their performances delighted and enthusiastic. The stop – and-send games of all large German stations accepted and their funny children’s games today on gramophone plates in the Reich were expelled.“

in fact, many Germans knew at the time, the Frankfurt puppeteer. However, during the nearly seven decades after their Emigration Liesel Simon has been forgotten thoroughly, in your home country and also at their site of action in Frankfurt, where the was drawn from Neumark in upper Palatinate at the end of Liesel Goldschmidt, after they had married in October of 1910, the Frankfurt businessman Paul Simon.

the rediscovery of the puppet master

Now, the generations to come can discover, thanks to a devoted to biographical Cabinet in the Historical Museum, and one of Hanna Eckhardt written and available as a brochure the once-famous puppeteer. Although the Lore is rather thin, but wins in the consideration of some of the original dolls from Liesel Simons Kasperle-theater, and the reading of the biographical sketch of an impression of this artist. You can even hear in the Museum by their voice, because for the recently established Cabinet in the permanent exhibition “Frankfurt once?” will be stored shellac discs with recordings of Simon electronically and can be monitored.

The rediscovery of Liesel Simon owes itself to the persistence of Hanna Eckhardt, who, after she had become on the fate of the puppeteer’s attention, persistent traces of which pursued and contact with the descendants recorded. A granddaughter of Simon agreed to leave dolls, books, manuscripts, and stage decorations to the history Museum, which led to the small exhibition in one of the biographical cabinets of the house.

Today, the theatre Kasper has largely played out. But to stand Liesel Simons times, this form of theatre still in bloom. There is no event for the amusement of the Small, the release of so much sympathy, exultation, and gratitude as the punch and Judy show, Simon wrote in a brochure of 1929: “a common game, not a living fairy-tale notion that no Film is able to hold a large crowd of children for one to two hours in length, with curious esters of attention in a room.” The explanation for this is for Simon: classic punch and Judy show, not only the dolls, but all the spectators with the play.