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STEIN Peter

( Director)

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Biography STEIN Peter
Peter Stein (01.10.1937 years [Berlin])

The famous German director Peter Stein arrived in Moscow at the invitation of the Chekhov Moscow Art Theater - to stage Shakespeare's "Richard II", which will begin rehearsals in 2006. These days, Stein looked Moscow Art Theater productions, selecting actors for this production.

- How do you found the MAT?

Theater under the direction of Oleg Tabakov changed - became cheerful, fun, dynamic. Course taken Tabakov modernization, in some ways successful, in some - no. But compared with the fact that the Moscow Art Theater presented himself at Efremov - a clear move forward. Regarding the performances, here I am less optimistic. Although I managed to see quite a bit.

I've seen "The Forest" directed by Kirill Serebrennikov - I was just bored. Although there are remarkable actors. The love story is so important for this comedy Ostrovsky, in the play is not shown. Women's role is much less developed than men. And much of what I saw in the "Forest", I looked for a long time in the performances of Christophe Martallera (the famous European director. - "Proceedings"). I think it's just a shame.

But I watched another show on the small stage Serebrennikova MAT - "Playing the Victim" by the play brothers Presnyakov. This formulation seems to me more successful. I think his style of direction more suited to such scenes and such plays.

-How did you become engaged in the theater? Your parents influenced your choice?

No. My father was an engineer, mother - a housewife. It seems to me that I was watching live as the father, decided to build their future differently.

- In 1972 you presented to the public "optimistic tragedy" Vishnevsky. As director, who lives in Germany, the Soviet inspired to put the play? How can it be perceived by the public?

Of course, we have been influenced by events in 1968. We took the first version of the play, not corrupted by the Soviet censor. After all, Vishnevsky was friends with Stalin, and brought him the first version of "Sunshine tragedy. Stalin's play, which had strong anarchist tendencies, very pleased. Though he wanted to bring in the State of iron discipline, it seems to me, liked the anarchy. But the Soviet censors did not miss a play. And Stalin Vishnevsky said that if he wants to play was in theaters, it should alter its. And Vishnevsky play changed.

And we, as I said, they took the option has not touched the hand of the censor. Of course, it was very funny, the actors portrayed the West as the Russian seamen Revolutionaries (laughs). Performance was very expressive: there is a lot of shooting, shouting. We even have real guns, Mauser, and we (very energetic shows how in 1972 they fired their guns).

Still, the audience the show is not very accepted - played the role that the play was quite unknown to her. We have shown "optimistic" only 35 times. And usually our performances were many times more.

- Theatrical performances have brought glory to you in the theater "Shaubyune" in Berlin. You are invited to his first performance in "Shaubyune" - "Mother" by Bertolt Brecht - the famous German actress Therese Giese, who once played in the performances of the Brecht. How she reacted to the proposal of a young director to participate in a theatrical experiment?

With Theresa Giza, I relate the most beautiful memories. We met her when I was assistant director of theater "Kamershpile in Munich. She immediately my greetings. Not only a human soul was the attitude towards me, but also helped creatively: thanks to her I put my first performance.

Her contract was written that she has the right for itself to put. She was a very famous actress, so she had the right to exist on an exclusive basis. And Theresa Giza invited me to play with her in the lead role. Of course, it is officially announced yet, but everyone knew that the play I'm doing.

Working with her was a real school of excellence. I felt director. After all, that usually makes the assistant director? Coffee was served. And I actually assistant, gave a performance. Working with Theresa Giza, though I went to high drama courses. She explained to me in passing, as it does, acquainted with the secrets of acting technique. I hope I, too, something she has helped.

But the theater in Munich, I was thrown. And I'm with a group of like-minded people tried to settle in Zurich. From the theater in Zurich, we, too, was dismissed, considering the communists and socialists - and in Zurich, it is unacceptable (laughs).

In 1970 I became the artistic director of "Shaubyune". In his first show, I invited Teresa Giese. She supported me. It was so important for us all! It is their authority to help our team in the beginning of the path. What words of gratitude to find? How do I answer this? She was my teacher. Unfortunately, now it is no longer alive.

- You have led theater "Shaubyune together with Klaus Paimanov. It held the cooperation of the two directors?

Payman directed the theater with me only a few months. Then he cast his vote total was fired. We've all issues can be resolved by democratic means: a producer to invite, what play to choose.

- By the way, Thomas Ostermeier, the current head of "Shaubyune" also adheres to the democratic system of government. How do you feel about his directing?

Since then, like me did not renew the contract - as it happened in 1990 - I was in this theater is no longer went. I have not seen a single performance in "Shaubyune". So to answer your question can not. But I am glad that directs this comedy directed. Currently in Germany there has been a dangerous tendency, when theater manages producer who does not understand the art. He would be happy to - but not understand.

I go back to your question about our brief collaboration with Klaus Paimanov. In my opinion, Payman not very good director, but absolutely wonderful director of the theater. But this is only my opinion.

- When you had to leave "Shaubyune", it too was the decision of the actors?

No, it was the decision of the owner of the theater. Actors do not want to rehearse the play "Faust", but did not want my dismissal.

- Several years ago you brought "Faust" in Berlin, and the public spectacle ambiguously assimilated. You do not feel that your audience has become less?

. Where did you get this information? How do you know that on my performance the audience was divided?

. - I talked about that German actors, living in Berlin.

. Performance did not accept criticism, but the audience watching all twenty-two hours! My performance was three days, and in the end the audience is always rewarded us by long applause
. We know that this performance was only twenty percent of visitors from Berlin. The rest came from other cities, rented rooms in the hotel. It's a serious action - go to another town to see the play. A Berlin critic before the tour was set against the "Faust". And, incidentally, no theatrical figure in Berlin, my performance did not look. But criticism came in waves: first, the play beforehand is not accepted, then, in Hamburg, had an excellent press. Then we arrived in Vienna, and the same thing happened again.

. Critics may see a performance only a few hours, but if performance is more - they are no longer able to watch it.

. My main problem was - give the audience a chance to see the entire "Faust"
. Not a peculiar directorial interpretation, not a condensed version, but a true "Faust" in two parts. It sometimes comes to the performances the audience, which knows the text of Goethe, and therefore it is better not to see the director's Exercise, and the performance of the classic text. My task - to present the text.

- You are always the most attentive to the world the author. Given that the theaters in Germany, a wave of deconstruction, destruction of the text, a prominent representative of which is the artistic director of "Volksbц+hne" Frank Castorf, Do not you feel yourself in the German theater alone?

. Of course, I feel
. And in Germany, so I do not live long. I live where I was invited to put - in Italy, France, Russia. After submit the text of the author, to understand it in the German theater is not able. Do not just do not want to, but do not know how. Well what film directors who are faithful to the author, left? Maybe Andrea Brit. But it is a weak director. Again - this is just my opinion.

- I like your productions. Nevertheless, I can not see that at a festival in Berlin Theatretreffen show brilliant performances raised just in the style that you do not accept. Why you counterpose one type to another theater? Have they can not coexist?

Of course they can. But then we are faced here with a problem: if an actor works with a director who does not put at the heart of the text, then as an actor, he loses a lot. Tell me, over the past 20 years, appeared in Germany at least one actor's name? Well, at least one?

. - Martin Wuttke.

. Stop! He successfully played only one role - you know what?

. - I can guess what role you have in mind - Arturo Ui in the play Heiner Muller at the theater, the Berliner Ensemble.

. Exactly! And
. All the rest - repetition. He is always and everywhere the same. You can not compare it, for example, with Bruno Ganz? My deep conviction - the theater, which now flourishes in Germany, kills actor. Makes him a puppet, doll. And the main thing for me in the theater, in addition to text - actor. In the German theater, he almost lost its status. Therefore, the German theater I do not like.

- And what is love?

Russian. With regard to the direction - I have a lot of questions, but the actors you have excellent and a lot of them.


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