by Botho Strauss
Read on 20 March 2019 by the actor Jens Harzer at the funeral of Bruno Ganz in Zurich's Fraumünster.
The author could trust him always. As soon as he entered the stage, I knew he will not fool me. This voice, this moving light and vigorous step, all from the centre-and upright body are not the usual Attempts in the shoes, to slip the clothing of a roller, the skin of another Person. He will save me, these art pieces.
He will lend his voice to any of the alien beings, he is rather to set a tone, a few hand signs and with the embodiment of the text start. The voice that I hear, is unmelodiös, brittle, and sometimes pebbles, hard and cutting, quickly gets a bit Defensive and Threatening, as the whole guy, the wortflührend, a word that exists in the plagued - a single constant of Hamlet's Passion, the life I now follow with never decreasing voltage across an entire theater.
Botho Strauss, 2003. Image: Ruth Walz
I swear, this actor has never spoken a sentence. He liked him zerbeissen, mumble, roar, whine or push: he would squander, but never the sense and value, or carelessly let it pass. And how many good, Yes, best actor in favor to authorize the Text, only oral, as to treat a flow of movement between the larynx and lip. Now, Bruno was not at All the clever, astounding Experts. To Lingen neither the brilliant Nervous to the introverted special.
There are two archetypes of the art of acting: the amazing quick-change artist of Werner Krauss to Gert Voss. And the untouchables stylist of Alexander Moissi, Oskar Werner, and finally to Bruno Ganz.
growing up In an environment of poor posture, certain him, his manly grace, his aggregated link power to one of the last Survivors of the heroes of the tray. What could now enter this Straight the reputation of to be the distinctive actor of his Generation? Which Generation? Those of the Intellectuals of sixty-Eight, but that could of course include the form of destruction and Deheroisierung to your social Successes.
"One of the last Survivors of the heroes tray"
Bruno Ganz was inspired by Berlin's schaubühne, and accompanied by a curious actor-Director like Peter Stein, and his vocational doubts, and ideological challenges to converted art-enhancing motives. The high-tension Seriously, the Point and the Point-don't have To, which characterised his style of presentation, date the last of those days, because the samples were the samples Tearing, questions of militant self-questioning, problem is a distressing problem of consciousness provoked. to play
Empedocles, to speak of Hölderlin belonged certainly to the authentic impersonations done by Bruno Ganz in his career. The dryness and hardness of his diction, the semantic, the meaning of blanking the end, he has practiced Speaking on hölderlin's Verse, even stricter than usual.
this was always a fighter, this champion Temperament, the difference of all the clever, late-modern - playful actors. It made him the protagonist in an early sense of the word. You may call him a Prince tab. The first champion in a born-and language-bound Agon, for in him the whole Theater voice.
"At best, he was beside himself"
in fact, his physique was, his gesture, his speech, marked by the technology and the spirit of confrontation. The attack killed him, unexpectedly, as well as forethought. You could find him quite convincing on the quiet, thoughtful, ironic and passing, but at best he was beside himself. Zornesmütig or plaintive. With a Shrill from the front of the throat, and never at my throat. A fired-up, even in the highest fury every word was a weapon, which he forged in the fire of his insight.
In such sequences he connected his audience with the powers of the great soul, of course, as the Protagonist of despair, and victory has never Power.
At the rank of Untimely-to-date, the the art of the stage the tyre Bruno claimed Quite a Outstanding, breaking the fashion trends, as well as the hunches, what remains of the theatre, left or back could return in a world that can so reflect.
Dear Bruno — to be my friend and Fellow — author for You, was the fulfillment of my theatre life. In reverence and gratitude, I remain always connected.
Botho Strauss, born in 1944, is one of the most performed playwrights on German stages. He worked already in 1972, at the time, as a dramaturgical staff, in Peter Stein's legendary production of Kleist's drama "the Prince of Homburg" with Bruno Ganz. The main role is played. From then on, such as the Oberon in "The Park" at the schaubühne played Quite regularly in pieces by Strauss at the Lehniner Platz (1984), the Odysseus in "Ithaca," at the Munich kammerspiele (1996), or the Titus in "desecration" at the Schauspielhaus Bochum (2006).
Created: 20.03.2019, 16:44 PM