We meet on the rehearsal stage: It is the only place in the house can smoke on the Martin Wuttke easily. Knit cap down, the ashtray over, then the man, in front of the critics of the knees and the Fans the heart get flutter smokes, a Parisienne to the other, while he searches carefully for the right words, to tell of the work of the Lust involved in developing the text material and the aversion to the political developments.
Where this has to do with the other quite productive: after all, a theatre-maker draws is hardly so obsessed with the contemporary universe of Discourse, such as the German, René Pollesch, with the Wuttke for years – and in the “I don’t know what it is, I only know his price (Manzini studies)” it occurs now in Zurich.
What is behind the title monster? “The title of the piece no longer has to do a lot today, the Major met us quite late,” says Wuttke, and that they debated for hours in the Berlin Café in Manzini about books and topics. A catalyst of “I don’t know …” the crack-up in Scott Fitzgerald’s autobiographical Essay “The Crack-Up” (1936). Wuttke says, and puts the narrow face, this Smile between hardness and melancholy, to the audience of the Leipzig”Tatort” – in which he identified from 2008 to 2015, as the Commissioner Keppler – were leaving; he finds the interest in the “scene” rather “strange”.
The world shift
Fitzgerald, poor, sick, addicted to alcohol, describes in “knack,” the night of the soul, the weight of the disappointment that is every day harder. Gilles Deleuze’s Considerations under the new Pollesch-piece feeding: the imperceptible fatigue in life, until suddenly everything breaks. Conventional disaster theatre, loud dramas gerappel was clearly less compelling than the slow end of the world shift.
a crack is like a marriage that will crumble with time. As one thinks at once of Wuttkes separation of fellow actress, Margarita Broich, which was in July, known. At the end of the Eighties they had learned at the Frankfurter Schauspielhaus know – where Wuttke 1985 as a replacement in Hamlet of the breakthrough had been made and the Director and writer Einar Schleef quasi weggeklaut. “By Schleef, I learned a lot, in my relationship to language and Text. Also of his understanding of the visual arts,” says Wuttke.
In three decades, so the Couple moved to two common sons big and Wuttkes first son. But private state of mind will not have to do with Theater directly, says the 56-year-old, in the Outfit stage berserkertum and earthiness collide with each other like in his game: To is wearing a hat and jeans shirt baggy pants with stripes and summer, bright shoes. On the stage he was not feeling machine. “The theatre is to Play outside” to fight against the imposition of psychological Depth. “What appears as the Interior of the actor, is a pure spectator projection. While Playing, I don’t Think the primary emotion production; therefore, to investigate correlations”, pointedly the Stanislavsky prize winner of 2013. The Russian founder of the “identity theatre” was for Wuttke, no guiding star.
he was Open about working with Schleef, and Christoph Schlingensief, Frank Castorf, or Pollesch: Where Thinking at eye level and a theatre, “beyond the consensus” asked and. As we discussed at the trial over thoughts and Text. “That’s the excitement, the happiness. You want to repel any course.” For Wuttke, it is important that “the artistic needs” to decide, not a lofty artistic Director. He had preserved the freedom and “generosity in dealing with the profession,” to a large extent.
Bochum
he had Grown up from the beginning. In Bochum, where he lost seven of his mother, grew up in the sixties were the consequences of the war are still felt. In the wounded country of a repressive climate that prevailed, he recalls, an atmosphere, which he left in 2007 in the Rolf-Dieter-Brinkmann-night revival, a folk stage festival in his direction. Wuttke had wanted to study his art. But the woman he was totally in love, applied for a place at drama school, he afterwards dackelte, has not been taken; you. This Is A Mistake.
“Up to the age of 30 years was the theatre for me is something Temporary. This gave me ease.” Then, in 1992, went there for the first time to the Berliner Theatertreffen, with Brecht, staged by Director-icon Ruth Berghaus. But really stressful it was for Martin Wuttke as artistic Director at the Berliner Ensemble in 1996.
Also the Director, he led earlier times, this tender has-unit type, the press celebrated as a “stage leprechaun,” whose power but gigantic proportions. No one can forget the mammoth project at the volksbühne, at the Castorf, Pollesch, and he’s a Molière heaved and he appeared in all three pieces. “It’s just my hubris, the drive was not.” He combined with the success of “the individual forces of the allegedly battered stage”.
the castle theatre
the national stage. For him, this is a very special place, an artistic Home, even if he is since 2009 at the Burgtheater in Vienna and it made it to Hollywood: In Quentin Tarantino’s “Inglourious Basterds” was he the Hitler. “One can only hope that it comes at the orphan house in Berlin to make the right decisions,” he says on the national stage.
But the community of artists that was as matured, independent trades, the work practice, the whole Aura of the house: this is something you could install with a snap of the fingers.
Wuttke self-excited new generations. His legendary Hitler from Heiner müller’s the Brecht play “The resistible rise of Arturo Ui” of 1995 given to a full house today. No, Routine of “Arturo Ui will” never explains the two-fold Nestroy-prize winner: The responses are always different.
“The viewers in the dark, underestimated his Power,” the one who acts in the light. In times of AfD and co. profits of the “Ui” a new dimension. “People listen to today is different, you can feel the top of the stage.” The theatre is on the political seismograph.
As commuters between Vienna and Berlin of the friendly-easy to talk to someone who has the nasty sounds, such as an ear. “In the past, the Communist life-lie of “none or all”, today is “all sufficient”. The principle of selection is accepted in a neoliberal world in General.” In Austria, the idea of a humane, caring society had crumbled long ago; in Germany soon.
An Optimist, he was never, admits Martin Wuttke and me Smile once his trains to the inclined Bang do not apply.
On the 14. 12. Martin Wuttkein the world premiere of René Pollesch’s piece is not “I know what it is, I only know his price (Manzini studies)” (Pfauen, Zurich, 20 PM). (editor-in-Tamedia)
Created: 11.12.2018, 17:58 PM
