plagiarism in view of similarities with regards to common place expression, Jacobsohn was fired by Die Welt am Montag. Following a journey through Europe lasting for several months during which he visited Vienna, Rome and Paris he returned to Berlin planning to establish a theatre magazine. The first edition of this magazine solely specialised in the theatre was published on 7 September 1905. Jacobsohn decided to name it Die Schaubühne as a reference to Friedrich Schiller's essay Die Schaubühne als moralische Anstalt betrachtet (The stage as a moral institution). Among the most important contributors to Die Schaubühne were Julius Bab, Willi Handl, Alfred Polgar, Lion Feuchtwanger (in 1908), Herbert Ihering (in 1909), Robert Breuer (in 1911) and Kurt Tucholsky (in 1913). From 1913 onwards Jacobsohn gradually opened up the "rag," as he like to call his magazine, to include political topics. In April 1918 he changed the name to Die Weltbühne and developed it into a pacifist forum for the German Left. With the new political orientation the collaborators changed as well. Even though Alfred Polgar and Kurt Tucholsky still belonged to the inner circle of contributors, they were joined by publicist Kurt Hiller (in 1915), economist Alfons Goldschmidt, satirist Hans Reimann (both in 1917), the founder of the German Peace Society Otto Lehmann-Russbüldt (in 1918), Social-Democrat politician Heinrich Ströbel (in 1919), art critic Adolf Behne, writer Walter Mehring (both in 1920), editor on economic affairs Richard Lewinsohn, publicist Friedrich Sieburg (both in 1921) and as political editor Carl von Ossietzky (in 1926). As a theatre critic Siegfried Jacobsohn was the antagonist of Alfred Kerr since he was firmly critical of naturalism in the theatre and valued the work of Max Reinhardt as theatre director higher than that of Otto Brahm who was advocated by Kerr. However, Reinhardt's turn towards arena theatre by converting the Circus Schumann into a theatre resulting in the Großes Schauspielhaus in 1919, was strongly criticised by Jacobsohn. After World War I, Jacobsohn promoted the work of Leopold Jessner, the artistic director of the State Theatre in Berlin. He also followed closely the productions by Ludwig Berger, Jürgen Fehling, Heinz Hilpert, Berthold Viertel and Erwin Piscator. Apart from the classic authors, particularly William Shakespeare, Jacobsohn initially promoted authors such as Hugo von Hofmannsthal and Arthur Schnitzler. However, he soon became disillusioned with neo-romantic authors. This disillusionment is seen as a major reason for his becoming politically