Alfred Beierle

'''Alfred Beierle''' was a German stage and film actor known for his character roles in Berlin theater, cabaret, and German cinema from the 1920s to the late 1940s. ^[1] A bearded supporting player, he appeared in numerous films, including ''Der Schuß im Tonfilmatelier'' (1930), ''Der Tiger'' (1930), and ''Grün ist die Heide'' (1932). ^[1] Born on 4 June 1885 in Berlin, Beierle trained at the acting school of the Deutsches Theater and built a career on the Berlin stage and in cabaret performances. ^[1] After World War II, Beierle returned to acting and continued to take on character parts in films until his death on 16 March 1950 in Berlin. ^[1]

Early life and education

Birth and family background

Alfred Beierle was born Alfred Beier on June 4, 1885, in Berlin. ^[2] This places his origins in the capital of the German Empire during the late 19th century. ^[2] No detailed information on his parents, siblings, or extended family background is available in primary biographical records. ^[2]

Acting training with Max Reinhardt

Alfred Beierle completed his acting training at the Schauspielschule des Deutschen Theaters in Berlin, associated with the Deutsches Theater. ^[3] This provided his formal training. Following his training, Beierle began his stage career in Berlin. His early theater engagements took place across various Berlin and regional stages.

Theater career

Early stage engagements and regional work

Alfred Beierle, born Paul Alfred Beier (also recorded as Alfred Paul Beier), used the stage name Alfred Beier in his early career before adopting Alfred Beierle. He began his professional stage work with engagements at the Schiller-Theater and Wallner-Theater in 1907/08. The following year, in 1909, he performed at the Stadttheater Bamberg. From 1910 to 1913, he was engaged at the Residenzbühne and the Wiener Kammerspiele in Vienna. His final regional position before returning to Berlin was at the Schauspielhaus Leipzig in 1913/14, where he also took on early directing responsibilities.

Berlin theater scene and directorial roles

Alfred Beierle established himself as a key figure in the Berlin theater scene after relocating to the city around 1918, engaging with its dynamic stages during the Weimar Republic's cultural peak. ^[3] He performed as an actor at several notable venues and took on directorial responsibilities, including a leadership role at the Lessingtheater. Beierle's work also intersected with Berlin's cabaret world, where he participated in performances that reflected the era's intellectual and artistic ferment.

Recitation, cabaret, and recording work

Literary recitations and political prose

Alfred Beierle gained recognition as a reciter starting in 1918, initially drawing on literary works but increasingly specializing in polemical and political prose during the 1920s. He performed texts by authors such as Émile Zola and Gustav Landauer, and particularly championed the oeuvre of Karl Kraus. In 1922 and 1923, he appeared at Trude Hesterberg's cabaret Wilde Bühne, contributing to the vibrant critical intellectual scene of Berlin's cabaret and theater world. His performances were marked by a distinctive style featuring a piercing metallic voice and suggestive delivery that projected powerfully even in large spaces. As noted in his 1951 obituary in the Deutsches Bühnen-Jahrbuch, "Sein schwerschultriger breiter Körper, seine durchdringende metallische Stimme machten ihn zu einer Persönlichkeit, die suggestiv auch in den größten Räumen wirkte. So wurde er im Lauf der Jahre mehr und mehr zum Sprecher, zum Rezitator, er bevorzugte dabei die polemische und politische Prosa, wie die von Zola oder Landauer. Besonders hat es sich für das Werk des Karl Kraus eingesetzt." This focus on politically charged recitations connected to his subsequent socialist-oriented record productions.

Leadership of Die Neue Truppe record label

Alfred Beierle served as the artistic director of the record label Die Neue Truppe from 1928 to 1930, a project undertaken in collaboration with the German trade unions to promote socialist and revolutionary ideas through the medium of sound recordings. The label produced approximately 100 records during its brief existence, focusing on spoken-word content that featured recitations of literary and political works by prominent authors including Heinrich Heine, Kurt Tucholsky, Rosa Luxemburg, Karl Kraus, and Georg Herwegh. ^{[4] [5]} Beierle personally recited many of these pieces, bringing his skills as a prominent reciter to recordings of poetry and prose that aligned with left-wing ideals. ^[6] The label also included music releases such as Kampflieder (fight songs) and march music, often performed by ensembles like the Balalaika-Orchester der Neuen Truppe. ^{[6] [5]} Notable series from the label included Die großen 1848er, which highlighted key figures and events from the 1848 revolutions, and Reden und Dokumente, a collection presenting historical speeches and documents to educate listeners on revolutionary history. These efforts reflected the label's objective to use affordable audio media for political education and cultural dissemination within working-class and trade union circles.

Film career

Entry into silent films

Alfred Beierle entered the film industry during the silent era, with his earliest documented appearances occurring in 1918. ^[2] His first roles included parts in the films Die tolle Heirat von Laló (1918), Die Wette um eine Seele (1918), and Mazeppa, der Volksheld der Ukraine (released in 1919). ^{[2] [7] [8]} His involvement in silent cinema remained sporadic throughout the 1920s, reflecting limited activity compared to his later prolific output in sound films. ^[2] Notable appearances during this period included Der Totenvogel (1921), Der Sieg der Jugend (1926–1927), and Der Bund der Drei (1929). ^[2] Additional roles in the silent era encompassed Ein Tropfen schwarzes Blut (1919), Café Kalau (1929), and In Jena sind alle Mädels so blond (1929). ^[2] These early film credits marked Beierle's gradual transition from his established theater background to occasional supporting roles on screen, prior to the expansion of his film career with the advent of sound. ^[2]

Peak period in early sound films

Alfred Beierle's most productive phase in cinema coincided with the advent of sound films in Germany, spanning roughly 1930 to 1932, during which he appeared in numerous productions. ^{[1] [2]} As a character actor with extensive theater experience, he specialized in supporting roles, frequently portraying authority figures such as police officials, commissars, doctors, and other establishment types. ^[1] Representative works from this peak period include Der Schuß im Tonfilmatelier (1930), where he played Kriminalkommissar Moeller, Stürme über dem Mont Blanc (1930), Der Hauptmann von Köpenick (1931), Yorck (1931), Der weiße Dämon (1932), and Grün ist die Heide (1932). ^{[1] [2]} These films capitalized on his distinctive voice and stage-honed presence, allowing him to contribute memorable supporting performances during the transition from silent to sound cinema. ^[1] His activity in films noticeably declined after 1932. ^[1]

Reduced activity and post-war roles

After his prolific work in the early sound film era, Alfred Beierle's on-screen appearances became markedly sparse from 1933 onward, with only a few documented roles through 1936. ^{[2] [1]} His documented roles during this period included Brennendes Geheimnis (1933), where he played the hotel detective Müller, Ein Mädchen mit Prokura (1934), Das Veilchen vom Potsdamer Platz (1936), and Unter heißem Himmel (1936). ^{[1] [2]} Following a prolonged absence from film work beginning after 1936 due to his persecution under the Nazi regime—including imprisonment in Sachsenhausen concentration camp and a professional ban from 1937 to 1945—Beierle returned to the screen in limited capacities after World War II. ^{[2] [1]} He took a small role in Der Fall Wozzeck (1947), appeared uncredited in Berliner Ballade (1948), and featured in Martina (1949). ^[1] His final credit was in 0 Uhr 15 Zimmer 9 (1950), which was released posthumously after his death on March 16, 1950. ^{[2] [1]}

Persecution under the Nazi regime

Political conflicts and emigration

During the 1920s, Alfred Beierle participated in Berlin's critical intellectual scene as a reciter and performer with left-wing views opposing rising authoritarianism. ^[3] In 1934, he went to the Netherlands, returning in 1935. ^[3] During his stay there, he had contact with a Marxist refugee committee, which led to his exclusion from the Reichsfilmkammer. ^[3]

Imprisonment in Sachsenhausen and Berufsverbot

Beierle was denounced as an opponent of the Nazi regime and subsequently imprisoned in the Sachsenhausen concentration camp for approximately one year. ^[1] Following his release, he was subjected to a Berufsverbot that prohibited him from working in film from 1937 until 1945. ^[1] This professional exclusion stemmed from his removal from the Nazi-controlled Reichsfilmkammer, effectively barring him from his career in the performing arts during the remainder of the regime. ^{[3] [1]}

Post-war years and death

Return to theater management

After the end of World War II, Alfred Beierle returned to theater management in Berlin. In September 1945, he took over leadership of the Wilmersdorfer Theater, a position he held for approximately one year. During this period, he collaborated with cabaret artist Willi Schaeffers to stage an evening dedicated to the works of Karl Kraus, highlighting Beierle's continued commitment to literary recitations and political prose in the early post-war era. This brief return to administrative and artistic leadership in theater marked a transitional phase in his career before his final film appearances.

Final film appearances and legacy

Beierle's final film appearances occurred in the post-war period, with roles in Martina (1949) and 0 Uhr 15 Zimmer 9 (1950), the latter premiering in April 1950 after his death and featuring him as the hotel porter Glinka. He died on March 16, 1950, in Berlin-Wilmersdorf. Beierle is remembered as a distinctive character actor known for his powerful, metallic voice and imposing presence, which allowed him to command large venues effectively. His later career increasingly focused on recitation, particularly of polemical and political prose by writers such as Émile Zola, Gustav Landauer, and especially Karl Kraus. The obituary in the Deutsches Bühnen-Jahrbuch 1951 highlighted these qualities, noting his suggestive performances and commitment to politically engaged spoken-word work. His legacy also encompasses his status as a victim of Nazi persecution, having endured imprisonment in Sachsenhausen and a professional ban from 1937 to 1945.