What comes to mind if one thinks of the now deceased actor Bruno Ganz: He was of quiet intensity. Lovable, but not a Causeur, shrouded in the chat. A man who weighed his words and not wasting wanted. Certainly not in the profession. Because he kept the language for the precious essence of the literary theater and of the acting.
An old-fashioned, the railing was against the decoration, which made all the literature from the provisional Material structure. Duration ironic “vanity” to him. not in the head This was not a sufficient reason and ground for serious people representation. But his Profession, and he took it seriously, it’s often up to the fantasy and horror; and this Seriously was the championship.
A “tremendous” theatre genius
The writer Thomas Bernhard, of this eminent Austrian Railers has held Switzerland to a country in which the blunt-live sense. Switzerland, he confessed in the novel “Wittgenstein’s nephew” (1982), at least this: “this is a tremendous theatrical genius,” Bruno Ganz, “the greatest actor that Switzerland has ever produced”, so great that he was the entire castle theatre ensemble’s “artistic fear of death”, not less.
That was long before Josef Meinrad, the Nestroy-cast, the Viennese loved, Bruno be, in 1996, the Iffland-Ring is left behind, and therefore, may, as a whole lost a bit of love. It’s a coffee house owner – Mrs Weidinger is told? Mrs. Hawelka? – I shouted it loudly in the city: “Swiss ham’s give us! The Ring do belongs to one of us!”
The rural-urban Switzerland, had not Wholly due perhaps not so much.
The Swiss Chauvinist who dabbles in all of us, according to its pleasure, “nature”, as again, Thomas Bernhard would say. On the other hand, his Zurich-Seebach, in the he was born in 1941, we may say: as a child of the common people – of this rural-urban Switzerland, had not thanks to the actors, just maybe not so much. You don’t “has brought him, probably,” he just wanted to be an actor and felt that he could, and it was there where he lived. It was sufficient that the Talent were no stones in the way. His desires would have killed cinema spun at the time, he said once, “a distant world for a boy from Seebach”, the Zurich middle school-film club have done its influential effect. And sometimes he thought, the theatre, more tangible than the movie, was just a necessary detour.
It can be. The theatre came to him in the course of time lost, and he came to his loss against the passage of time and the time Ghost full game with the ridicule, since “you”, like the ers many years ago, put it (and the “you” sound angry), “at the theatre actually hate everything that I find exciting”. And because in the movies and be done, what got him interested in the Theater once. It is the summing up was a long history of increasing denial. The exceptions that he made in the last two decades – for Harold Pinter and Luc Bondy (“Le Retour”, Paris, 2012), Shakespeare and Botho Strauss (“desecration”, Bochum 2006), Sophocles and Klaus Michael Grüber (“Oedipus at colonus”, Vienna, 2003), and for Goethe’s “Faust”, and Peter stone, in a last giant production (Hannover, 2000) – have not encouraged all the more.
A Big under the Big
And yet, on the German stage, he is grown and a Great among the Great, and he knew it. In Göttingen, and Bremen began and led in 1970 to Berlin, the schaubühne am halleschen Ufer, in the “We” of the fascinating, probably a little theatre champagne Enembles are liable to the Director Peter Stein. A passionate time of the theatrical thinking it must have been. A time out properties of text analysis, attempts at mediation and political commitments. A school of accuracy, even in the aged, which of course was already there: the ability, in figures zugrübeln and to decompose language into its subtleties; and when he had realized that as a figure, he unfolded before us in its melody, its truth and its contradictions.
His grasp of fantasy took him to the people he represented, and he had doubted him. “Show distance” called the Director, Dieter Dorn, and perhaps he meant those wholeness from the fantastic Language and the talent for Complex. Perhaps Bruno Ganz so often by the idea of paleness face to ailing characters of the course: the Prince of Homburg, Hamlet, Faust, and the driven Macbeth on the stage or in a Film such as Reinhard Hauff’s “knife in the head” (1978), the Biogenetiker Hoffmann with his pieces of shot identity. Even the Hitler in Oliver Hirschbiegels “The role of downfall” (2004), this Nightmare – not his best, but certainly one of the most virtuosic, and he has to hold intellectually, methodically disassembled and re-assembled to the object of disgust and to the object of pity. All-in-one balked allowed against the Interpretation, but he, being Quite this irritating boldness.
His acting was always “important”
The cinema. The Film, if mans law considers, it was quite early tangible for him. The Swiss beginnings he has Early spoken particularly fond of, but we call, at least the Film, in which his role for the first Time had the Name and character, because we didn’t have any: “It’s roof überem Chopf” (1962) by Kurt. Remain the count is Kleist in Eric Rohmers film adaptation of “La Marquise d’o” (1976), will remain in the vampiric infected Jonathan Harker in Werner Herzog’s “Nosferatu” (1979). Of course, will remain Damiel, the life of addicts, wishing to die angel on the victory column in “The sky over Berlin” (1987) by Wim Wenders.
And Hitler (we only whisper quietly in front of us: unfortunately), also the. The role threw Bruno in an inter-nationality, where a Coppola (“Youth Without Youth”, 2007), a Scott (“The Counselor”, 2013). You can’t say that the roles were not always significant. Bruno Ganz’s game, however, was, as always, is “significant”. Weil is an expression of his performers was curiosity: how mans about to bring before the unerring camera to make a character up on the eyelash hairs precisely.
It was him by the way, even not legal, if you look across from him acted as if brooding his second Name. It is also the Easy playing, the Curiosity of a fire-dangerous briefness succeeded him in the macabre Comedy “strength idiots” (2014) from Norway, and in the past: the ceremonial of melancholy the waiter in Silvio Soldinis “Pane e Tulipani” (2000), for whose portrayal he was awarded the Swiss film prize. It was the first of the three prices, and one among many, but what is said for a fine Moment in January 2001 when the young Tonia Maria Zindel according to the sense to him, he was already a seasoned, but still very good shape for his age; the indulgent Smile were you to see!
A steady guest of honor
which brings us and the memories back in Switzerland. And for the Swiss Film. Bruno has never heard of the quasi-salaried staff, rather, he was, and, as a guest of honor. One who extended the Swiss to International. He has given us two terrific grandfathers, among other things: the sovereign kurligen Old in Fredi M. Murer’s “Vitus” (2006), dems in his Swiss world well-being was when he flew over them; and the Alpöhi in “Heidi” (2015, Director: Alain Gsponer), in the something of the former rice runner up dealer put.
And there is still “The inventor” (1981) by Kurt Gloor, wherein the Whole of a lovable Zürcher Oberländer, Jakob Nüssli, the alone, the tracked vehicle invented for themselves such around 1914, so it would have leichtet the horses, when a cart in the Dirt put. But the invention of the nussli was already invented in the Form of the carapace, the art of war was more efficient than the civilian imagination, and Bruno was Quite the inventor who arrived too late, a fragile softness, a silence resist recalcitrance and a pacifist despair. It seemed to be a very Swiss, and in any case, a subversive provincialism and a provinzelle tragedy has been embodied never more beautiful.
(editing Tamedia)
Created: 16.02.2019, 12:59 PM
