Harmoniker? No, we need conflict – culture

Are two parents on stage? No joke, but certainly funny. Father and son are preparing together for the first time at the cabaret and, under the slogan "Father murderer", they begin to open to the public their generational conflict, which has experienced years of unrest. An interview about pyromania, a culture of debate and its possible motivations. Not always harmonious, but still alive.

Steinhauer: "Matthias, it looks like you lit the courthouse, it was a denim jacket!" (Photo: Helmut Graf)

Interview with Erwin Steinhauer and Matthias F. Stein

"Today": Matthias, have you ever wanted to kill your father?

Matthias: Yes of course. Like a teenager. But rather in the casual style of the Wienerische: "Ma Oida, I beg you, I do not pack it." But murder, murder. No, you do not think of anything like that.

"Today": What was the trigger then?

Matthias: As a teenager, I was far too quiet, I largely accepted what she is. I was not a revolutionary, but I treated a lot of things outside the family. I lit things, stole things, did a lot of nonsense. I have the pressure that parents inevitably exert on children because they like them because they want to put them on the right path, rather than letting their father go, but to expel them differently. . When you turn things on, it means: "Hello, I'm here."

Erwin: Looks like you lit the courthouse. I still remember it. I made him Ischl the "Salt Baron" in the '90s, when a phone call called you to school with friends, if a denim jacket is burning in the # 39; cabinet. It's more of a juvenile curiosity than pyromania.

Matthias: And then old age arrived, at age 25 we sat down and talked about the past. It was not easy for Dad, because in the conversation, I would not go all out and congratulate him as a great dad. All I can say is that if you look at others, what happens to others, like family, I am always blessed. Even though I was not baptized. I also perceive that our father-son relationship is intensifying by working together. I think that's always the case, even when the son enters his father's business, the situation worsens further. Then there are professional and private contact points, they mix, which makes the stage work so complex. And so exhausting. Because you do not leave the repetition. We take things that say Father or Son more to heart than the colleague says.

Erwin: The sample is called yes conflict. We are not harmonists who do anything of loving cooperation. We try to do that about the conflict. Because we believe that the conflict is much more honest, because everyone wants to badert their own interests. And that's exactly the stuff of this piece. Everyone is solely responsible for what he shows on stage. We are adults. It's like that.

"Today": Is the contentious culture you cultivate with each other still so pronounced?

Erwin: The children (Matthias and his sister Iris, Note) live with me since the age of 12, we were a small family and there were three of us. It was a big job to make children understand that you can also be a family of three. Because children from a middle-clbad household with a father, a mother, a child, who are not so used.

Matthias: Well, three of us … We were living with you, dad. Because mom's life has changed, I did not like her. But my mother was always there, she always belonged to it. We were a clbadic divorce family, right?

Erwin: I do not need a label for what we were. I just wanted to say that we were three and that I had to explain to my grandchildren that you can also be a family of three.

"Today": What is the only thing with which you will always agree?

Erwin: The absolute and directional priority has always been the love and mutual attention. That one is there for the other, it was always the crucial point. The fact that my children come before my job has always been the most important thing for me. This is also discussed in the room.

Interview "Today": Steinhauer and Stein at the Vienna Rabenhof

"Today": Is that what makes a good father?

Erwin: First of all, it is the basic feeling. Second, the requirement to be behind the child at every stage. To help him, as long as you can help yourself. I do not mean gifts or money. But about constantly dealing with them. And I tried that.

"Today": Have you always felt that, Matthias?

Matthias: This is not possible. He comes from the other side, the child. I do not believe that parents always have the right to talk to the child about things that make him move. Because a lot of topics that the child does not know. But I think dad did his best. He has moved a lot for me.

"Today": What was the impulse to do cabaret together now?

Matthias: Someone from the outside asked us why we do not really do anything together. It was not our idea at all. At first, I thought, oh no, it's incredibly exhausting to work in the family, to work with the father. And then I thought, where is this father and his son together on stage. I have never seen

Erwin: Well, there will be examples. We are not the first or the only ones.

Matthias: This is not it. I just find it exciting to bring this intimate relationship to the theater. Even if it is not discussed. There are only two parents on stage.

Erwin: It would actually be a better title: "Two parents on stage"

"Today": How do you start the evening?

Erwin: Only so much: This is not a guide for patricide.

"Today": on the theater stage, we have seen you together more often. What is particularly interesting?



Matthias: "The Bockerer", 2007 at the Landestheater NÖ. I was 25 years old. It was before the big conversation. We rehearsed together and often went out together … and there was not such a good atmosphere between us. I already went through dandy with daddy with emotion. Which naturally relaxes the relationship.

Erwin: It was also difficult because the room was really violent. I had to hit Matthias, who was standing, shirtless, with a belt and who was perfectly locked. Because I did not have the habit of beating my child. Matthais only says, "Dad, here you can go, I can not smell it!"

"Today": How do you really start in a common cabaret project? With a bottle of wine and brainstorming, or in a very professional setting … appointments and study.

Erwin: Alcohol does not matter at all. We are trifling and clarifying who is there. Then, the collective of authors meets and discusses where we want. Then the tasks are split up and everyone leaves the area and presents their work at the next meeting or by mail. And that changes constantly. Because it always evolves. Matthias wrote much more than half of the play, but it continues over and over again. You change and try. This is also part of the room. The father often despairs because the son always changes something.

"Today": What key words in the press release actually correspond to the truth. Do you drink and eat too much, Mr. Steinhauer? Are you a bad streamer, Mr. Stone?

Erwin: We do not betray that, the public should know.



Matthias: Well, I'm watching bad. Why not

Erwin: It's true that I like sweets.

"Today": Would a shared apartment for men be an option for you?



Erwin: An old school apartment with a lot of old rags, they share the work, it would be nice.

"Today": No, no old scams. Matthias and you …


Erwin: No, I do not think so. There are too many years in between. Everyone is at a different stage of development and what does he need to know about horrible aging? I do not want to show it to him. This aging process, it does not have to catch on a young age.

"Today": Which one of you is the funniest of the scene?



Matthias: Well, daddy is already a Schmähtandler. With me comes a great rest, I have it from mom.

More about "Father Murder":

Economic miracle against economic crisis, baby boomers against bad streamer – in a church, the remains fly: father and son together on stage for the first time – preprogrammed generation conflict! Erwin S., known since the time of the 70-1980s silver cabarets and advertising, radio and television, lives in his luxury villa in Vienna-Hietzing. His time is up, he spends his days in front of the Plasma Full HD TV, watches his old movies, eats and drinks too much and hopes for a tomb of honor in the city of Vienna. His son, Matthias Franz, actor at the Josefstädter Theater naturally has a heart for the elderly and wants to help once again his deceased to make his comeback. He moves temporarily to the father's house after 25 years to write together one evening.

But what was funny was still funny today?

Does the father abandon his son? Does the son invalid the father?

Or should everything go wrong after all?

ICI tickets and all dates

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