Zahn tooth in the ass of the powerful? Claus Peymann in the floor
Photo: Picture Alliance/Jens Kalaene
And suddenly I get electronic mail. By Claus Peymann’s long -time partner and dramaturge. Subject: “Thank you!” What I deserved, it shot through my head. It was five years ago.
Well, after a short reading, the case was clear. It was probably a misfortune. However, there was still a clear rat tail on the last message addressed to me. It was the correspondence between Claus Peymann and his neighbors, who is close to the quality of a Bernhard drama.
What was it about? Peymann had asked his neighbors for a friendly service. The director intended to try in Vienna. And wanted to know his plants. The neighbor agreed. The request was followed by the consent, followed by the thanks and the thank you. But all of this in a beautiful language that hardly anyone has mastered today.
Peymann soon realizes that his neighbor was once in a similar situation, and he would also be available. And he adds: if necessary, he would even guard a dog if the neighbor had one again. As I take in correspondence, a new dog is actually “in progress”.
But he doesn’t leave it with such a non -binding offer. He would like to invite the neighbor and his wife to Vienna. Two days in one, as he writes, good and pleasant hotel. He let someone organize this who knew which rooms are beautiful. There are two tickets for “The German Lunch” at the Theater an der Josefstadt (directed by Claus Peymann) or for “Die Chair” (director: CP) at the Burgtheater or at the same place “Der Hosebauf” (director: CP) or a Bernhard reading (by and with Claus Peymann).
But, it is to be read, maybe Peymann in Vienna. Peymann’s thank you, the neighbor lets you know. And the offer is excluded. Is that modesty, the effort for distance, gentle repentance? In this drama, the subtle punch line follows soon: the plants – they have all received.
With Claus Peymann everything was theater. He himself was a big actor. Everything staged nicely. With wit and rhythm. A figure like from a comedy.
In conversations I often quoted from the misguided email. She was always the reason for exuberant cheerfulness. Like Claus Peymann for theater viewers of my generation, who got to know him through his late work on the Berlin Ensemble.
The story is legendary as he collected money for the dentures of the detained Gudrun Ensslin in his time in Stuttgart.
It was this unconditional belief in the power of the theater, its stately appearance, the type of self -staging and its direction itself, which, with all the skill, always had something dusty that irritated in a strange way. Then someone said that he wanted to be the vibrator in the ass of the powerful, and then he transforms the Brecht Theater into a museum, before which the tourist groups are unloaded every evening.
With all the quarrels with the theater legend Peymann, as she showed us to be born in her late work and as a public figure, there was also an idea. The idea that he was really serious about art. That you could build on him politically. And that there must have been other times when he has stimulated and stimulated the Federal Republican and Austrian theater.
Born in Bremen in 1937, Claus Peymann began his director’s career as a student. From the University Theater in Hamburg it went to the city theater in Heidelberg in the mid -1960s, over the Theater am Tower in Frankfurt to the highly politicized West Berlin Schaubühne (where Peymann did not stand up for long).
The successful director Peymann soon wanted to be the director. From the Stuttgart State Theater, via the Schauspielhaus Bochum we went to the Vienna Burgtheater and finally the Berlin ensemble. A career as a theater king in various rich from 1974 to 2017.
The story is legendary, as he collected money for the dentures of the detained Gudrun Ensslin in his time in Stuttgart, which (not only) had (not only) Baden-Württemberg’s Christian Democratic, previously tightly National Socialist, Prime Minister Hans Filbinger.
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No less legendary his promotion and enforcement of great playwrights: with Peter Handke’s “insulting public”, an intensive work relationship between author and director began. Peymann was also the premiere director of Elfriede Jelinek, Peter Turini and especially Thomas Bernhard.
His years were probably the politically and artistically productive time. A theater man managed to raise an entire country against him. This is not a little earnings.
His self -surge – he spoke of himself as an enlightened monarch – did not undeserved one or the other eye roles. But you have to keep him to keep to him that he not only tolerated other gods next to him, but also attracted them: George Tabori, Peter Zadek and Einar Schleef were able to work where Peymann ruled.
When the scandal director took over the Berlin Ensemble at the turn of the millennium, the disappointment was great that artistic scandals failed to fail. He also gathered big actors around himself as everywhere. And at least he caused a little excitement when he had given the prospect of the Christian, who was released from custody.
With the end of his Berlin directorate, the director’s career was not over yet. He continued to work, at the theater on the Josefstadt and elsewhere. You think you know that this theater -obsessed person couldn’t have done any other way.
On July 16, Claus Peymann died in Berlin-Köpenick at the age of 88 after a serious illness.
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