Bernd Kauffmann, former president of the Klbadik-Stiftung Weimar, writes Weimar actor Thomas Thieme, 70 years old today and remains elusive in his artistic splendor.
Weimar. There are always people who enter the highest "ten zones" of their lives as an opportunity to celebrate their own voice and sing their unbeatable importance with melodious sound and vocal acclaim.
The "Norman wardrobe", the great Curd Jürgens, was the one who was already in 1976 with his "60 years old and not a little wise.", welcomed the help of the song, while the other Jürgens, the Udo, in 2006 his old song of the sixties "A 66 years old.," Repacked for his birthday and put himself at his feet. The 70 years that do not seem to make anyone "silent" or "wise" were also the "last survivor of the Lilly Marleen generation," Evelyn Künneckewho liked to be called "Germany's hottest grandmother", singing.
To such "self-abnegation of the third type" in the double meaning of the word, tends to Thomas Thieme absolutely not, he now honors the sacred number "seven" in their ten perfection. This man does not want decoration, do not like oily praise, all easy to feel. Thieme is anything but a self-referent, is not a selfish coquette and not a "I'm not a big media broadcaster addicted to cameras." Its essential features are language and corporeality, speech and gesture , articulation and modulation.
Unbeatable moments of rebellion
The truth of Thieme Art, in the true sense of the word, does not seem to belong to this world. In many of her theatrical roles, she contains moments of unbeatable rebellion against the one-dimensional society "adaptation-is worth-of-pay-without-otherwise-stress".
They are all proponents for the perfect other of a supposed all, for the Ortlos, the homeless, the existing existent no longer existing or not yet being located. In these moments done Thieme This clearly shows how much the farewell process has removed all our existential possibilities of experience, how much we pay daily to this process, what we gain in terms of opportunities for digital diversification and that we lose in proportions similar to reality.
this Thieme This is not the one who – like some dancers of the republic – in life or on stage, solves urgent problems only in soul states, not to have been so then. He is very different from what is sometimes called in his hometown and is certainly not a troublemaker of the Weimar situation. It is precisely one of those who want to bring out this small German city to the great past of their community, reluctant to withdraw, depending on the situation, new perspectives.
Yes, this one Thieme causes, creates enthusiasm, but also anger. And even when it becomes infinitely silent, its silent presence almost suffocates. He never gets bored on the stage, let alone the private.
Happy the time he was in the suburbs of Weimar Taubach With the men's choir and the rock 'n roll Kani', elements of the Thuringian simplicity in a bitter-perverted entertainment as well as the traces of the sweaty spiritual feet of the bourgeoisie provincial in a dark and ironic comedy on and archived artistically and forever.
And even happier are the times when, more than ten years later, he was turning to 'the German self-being' post-Taubach 'sch Fallersleben, birthplace of the national anthem poet, a theater revue wirtshäusige "I think of Germany" to devote, to which he recently died Bänkel-Bard Gunter Gabriel moved under his magazine cover. The result was a delightful madness, inter-German beer tent, strong and sweet tones, songs and hymns, Gbadenhauer and romantic songs, stories, poems, songs, satires, praises and abuse of the German language and thought with fragments of Society Discourse of Courage, Anger and Rebellion, as is rare in Germany and leaves the question: why not more often like that?
I repeat: time is blessed, as in this "strange figure" of the Theaterberserker Thomas Thieme Joseph von Eichendorffs "Mondnacht", for many of the most beautiful German-language poems, spoke with an almost brittle voice in silence and thus revealed to the public a completely different aspect of the German spirit – the next moment following the most Paul Celans' "Death is a German Master" was broken to be in another jump with Gabriels "Hey Boss, I need more money" to let the German present unfold in the depths of their rich and poor reality: Thieme with an infallible chutzpah, German bliss becomes almost inimitable in all their sad disappointment.
Vision and imagination
And that is also, beside so many other things, Thomas Thieme great art: to delve precisely into the lowlands of the German soul without ever losing the height of judgment and the distance of (co) knowledge and (self) criticism. This skill is fueled by the rare confluence of flair and knowledge, corporality and intelligence, badertiveness of life and gnashing of teeth, imagination and perspective, d & # 39; hedonism and reflection, to be-with-self and human tenderness. What a wonder, already warned the word Thieme to the ancient Greek "Thymos", which refers to the strength of life and courage.
At every meeting, every conversation with this undisguised human being, I realize almost painfully what we all miss when we have everything. And if in November, the month of the fall of the leaves, in the presence of this Thieme not in Weimarbut in the neighborhood Erfurt for his 70 years The book of Frank Quilitzsch "Ich Hoeneß Kohl" is presented with a comment "Netzer-pbad from the depths of the room", it must be understood that all present must naturally rise to be able to prostrate more deeply.
To the author:
Bernd Kauffmann was president of the Clbadic Foundation Weimar, Director of the Art Festival and General Representative of the Weimar 1999 – European Capital of Culture GmbH
reads:
- Sunday, November 18th, theater Erfurt (with Iris Berben and Günter Netzer – exhausted)
- Saturday 1st December, Ernst Abbe Library Jena (with Hans Meyer)
- February 4, 2019, Greiz
- March 20, 2019, Weimar; (with Stephan Märki and Jimmy Hartwig)
- May 7, 2019, Church of St. Ursula Taubach
- October 26, 2019, Suhl
