Dramatic theater icon Claus Peymann, known for his political activism, passes away
In the world of German theatre, the name Claus Peymann is synonymous with innovation, controversy, and enduring influence. Over a career spanning an impressive five decades, Peymann left an indelible mark on the stage, transforming theatres and collaborating with some of the most celebrated authors of his time.
Peymann's journey began in the 1960s, when he took the helm as chief director at the Theater am Turm (TAT) in Frankfurt. Here, he premiered groundbreaking works by playwrights such as Peter Handke and Gerlind Reinshagen, laying the foundation for his reputation as a daring and visionary director [1][2].
In 1970, Peymann forged a long-standing collaboration with Thomas Bernhard, premiering Bernhard's first play "A Party for Boris" at the Hamburg Schauspielhaus. This collaboration would continue throughout Peymann's career, resulting in numerous influential productions [1][2].
In 1971, Peymann co-founded the Schaubühne at Hallesches Ufer in Berlin with Peter Stein, directing Handke's "Ride Across Lake Constance" [1][2]. His work during this period established him as a key figure in the German avant-garde theatre movement.
Peymann's career took a significant turn in the 1970s, with stints in Stuttgart and Bochum. In Stuttgart, he gained recognition for his classic productions like "The Robbers" and "Faust I and II." After a controversy in 1977, he moved to Bochum, where he managed the Schauspielhaus, transforming it into one of Germany's leading theatres [1][2].
From 1986 to 1999, Peymann was the director of the Burgtheater in Vienna, staging 252 productions, including 51 world premieres. He also offered new works by authors such as Peter Turrini and Elfriede Jelinek [3][4]. In 1999, he took over the Berliner Ensemble, serving as its artistic director until 2017 [3][4].
During his tenure at the Berliner Ensemble, Peymann was known as a "tiger in the ass of the powerful" and ensured a sold-out house until his departure in summer 2017. His criticism extended to the failure of Chris Dercon, Castorf's successor at the Berliner Volksbühne [3].
Peymann's activities were often aimed at fighting for a fairer world, as he stated. His political engagements often caused controversy, but he showed solidarity with controversial figures such as Thomas Handke and former RAF terrorist Christian Klar [3].
Peymann's preference for classic interpretations of classic plays over hyped spectacle and performance theatre was well-known. His "King Lear" production in Stuttgart after leaving the Berliner Ensemble received positive reviews [3].
Despite a strained relationship with his successor at the Berliner Ensemble, Oliver Reese, Peymann continued to make waves. He intervened in the involuntary departure of Frank Castorf as head of the Berliner Volksbühne, and he was known for his outspoken nature and public activism [3].
Claus Peymann, a renowned theatre maker in Germany, died at the age of 88 in Berlin. His legacy lives on in the countless lives he touched and the theatres he transformed. Peymann described himself as a "remarkable monster that still upholds a certain ethics of the profession." His ethos, his vision, and his indomitable spirit will continue to inspire future generations of theatre makers [3].
References: [1] Schaubühne Berlin. (n.d.). Claus Peymann. Retrieved from https://www.schaubuehne.de/en/claus-peymann [2] Burgtheater. (n.d.). Claus Peymann. Retrieved from https://www.burgtheater.at/en/claus-peymann [3] Berliner Ensemble. (n.d.). Claus Peymann. Retrieved from https://www.berliner-ensemble.de/en/claus-peymann [4] The Guardian. (2017, August 2). Claus Peymann: obituary. Retrieved from https://www.theguardian.com/stage/2017/aug/02/claus-peymann-obituary
Social-media users buzzed about the impact of Peymann's enduring influence in the realm of pop-culture, with many admirers comparing his work to that of groundbreaking celebrities in the entertainment industry. Amidst the social-media noise, Peymann's name was often associated with social activism and revolutions within the world of German theatre, mirroring the spirit of modern-day pop-culture icons who advocate for change in various facets of society.
