Andres Veiel

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Andres Veiel at the presentation of his film Beuys at the Berlinale 2017

Andres Veiel (born October 16, 1959 in Stuttgart ) is a German film director , theater director and author .

Veiel, whose works often address the background and connections of biographical and historical violence and move in the border area between fiction and reality, is considered one of the most prominent representatives of politically engaged art. A special feature of Veiel's working method is the intensive, sometimes multi-year research as the basis for his projects. Andres Veiel lives in Berlin.

life and work

Study and training

From 1982 to 1988 Andres Veiel studied psychology in West Berlin and between 1985 and 1989 completed training in directing and dramaturgy as part of the international directing seminars at Künstlerhaus Bethanien, with Krzysztof Kieślowski among others .

documentary

Winter night's dream

Veiel's first full-length documentary was the result of his work for the play The Last Rehearsal (→ theater work). It was there that Veiel met the half-Jewish Inka Köhler-Rechnitz, who in the 1930s was not allowed to appear as a recent graduate in drama, had to give up her career and only returned to the stage 60 years later with the Berlin senior theater group “Die Herz Pacmacher”. Veiel accompanies the 83-year-old actress in his 1991 film Winter Night's Dream during the preparations and rehearsals up to the premiere of The Last Rehearsal . At the same time, the film tells of an unusual biography, marked by emancipatory rebellion and the tough struggle for survival in the Third Reich. Winter Night's Dream reflects the difficulties of its creation: Köhler-Rechnitz repeatedly refuses Veiel's questions that she is “only engaged as an actress and not for a life confession”. As the film tells of this struggle for memories, it also becomes a “complex intergenerational dialogue”.

Balagan

In Veiel's second documentary, Balagan, from 1993, the theater also plays a central role as a location. Veiel accompanies and portrays three actors from the Jewish-Palestinian theater center in Akko, Israel, and links their biographies with their theater evening, Arbeit macht frei vom Toidtland Europa . The sometimes drastic play, in which the continuing influence of the Holocaust on Israel and the Israeli-Palestinian structure is discussed, was a guest in Berlin in 1992. The focus of the film is on the Palestinian actor Khaled and the Israeli actress Madi. Khaled deals with the Holocaust intensively for the first time through the work in one piece. At the same time, friends threatened him as a traitor because of his collaboration with the Israeli group. As the daughter of a Holocaust survivor, Madi defends herself against what she sees as the "Holocaust religion" in Israel; she sees her work in the play as "blasphemy".

Veiel's film Balagan was particularly accused in Israel of being disrespectful and anti-Semitic, while elsewhere the film was seen as “an important, challenging, bitterly impressed testimony to profound helplessness in a torn country” and both the “cautious approach to a controversial issue "As well as the communication of" startling and illuminating "insights into the" complex structure of Israel "were judged positively. Balagan , whose title alludes to the Hebrew expression for “productive chaos”, received the Peace Prize of the Berlin International Film Festival and the German Film Prize (film ribbon in silver) in 1994 .

The survivors

With The Survivors , Veiel made a very personal film in 1996 in which he turned to his own generation. In it, he traces the biographies and life plans of three former classmates who committed suicide in the 1980s, and in doing so takes an inquiring look at the soul of the German province four decades after the end of the Third Reich.

Veiel's film met with a positive response and was rated as a “brilliant time study”. Among other things, it was credited with the fact that the portrayal of a conservative canon of values ​​“manages without left-liberal arrogance” and that the film, despite the fragility of its subject, is one of the “most sincere and profound” German cinema documentaries. The Survivors was nominated for the German Film Prize in 1996 and was awarded the Grimme Prize in 1998.

Black Box BRD

Veiel became known to a large audience in 2001 through his documentary film Black Box BRD , in which he juxtaposes the biographies of the bank manager Alfred Herrhausen and the RAF terrorist Wolfgang Grams . Veiel interviewed Herrhausen's widow and top managers at Deutsche Bank, but also political companions and relatives of Wolfgang Grams, and put together the image of a polarized country from their contrasting memories. Black Box BRD met with a wide response, with the film being particularly valued in an international context as a contemporary document of post-war Germany in the 1970s. Domestically, the film, which provided insights into previously seldom shown contexts, included a polyphonic cultural study that respected its protagonists equally and attested to the tension of a crime thriller. Black Box BRD has received numerous awards, including the German and European Film Awards .

The gamblers

From 1996 to 2003 Veiel accompanied four drama students at the renowned "Ernst Busch" Berlin Dramatic Academy in a long-term study . Veiel condensed his 2004 documentary Die Spielwütigen from 240 hours of film material , in which, in addition to insights into the challenges, efforts and struggles during the training, the growing up of the four protagonists is told. The film moved above all through the intensity and seriousness with which "the fascination and frustration, dream and nightmare of the acting profession are brought to the point". The film premiered at the Berlin International Film Festival in 2004 and was awarded the Panorama Audience Award there.

The kick

Based on his documentary play Der Kick (→ theater works) and the more than twenty conversations with two of the perpetrators as well as with relatives and friends of the youngster Marinus Schöberl , who was murdered by three neo-Nazis in 2002 , Veiel developed the documentary of the same title in 2005. As in the previous stage production at the Maxim-Gorki-Theater Berlin, all roles were taken on by Susanne-Marie Wrage and Markus Lerch. The film ran in the Panorama of the Berlin International Film Festival in 2006 and was well received. The abstract, theatrical and Brechtian staging of the topic was particularly popular. The kick. was voted film of the year 2006 by the jury of the Protestant film work .

Beuys

With Beuys , Veiel succeeds in bringing the first feature documentary about Joseph Beuys , one of the most controversial artists of the 20th century, to the screen. During the three-year development phase, Veiel conducted over 60 interviews with contemporary witnesses from Beuys and viewed around 400 hours of archive material , 300 hours of sound documents and over 20,000 photos.

The film consists of 90% archive material, much of which was first published. Veiel doesn't tell Beuys as a classic biography, but rather from within itself. The film opens up “a surprising approach where you thought everything had been said about Beuys. He is looking for the person, the personality behind the artist myth ”. The film connects Beuys' personal trauma and injuries with his thinking. If it is possible to overcome one's own severe crises, why shouldn't that also apply to a social organism? Veiel is particularly interested in Beuys' expanded concept of art and spaces of ideas, which want to "reinvent the economy" through the motor of art and thus anticipate today's demands for a basic income and a democratization of finance and money. The film shows Beuys as an artist who puts his ideas up for discussion with astonishing, sometimes stoic, sometimes biting humor and who is full of self-irony.

Beuys premiered in the competition at the Berlin International Film Festival in 2017 and received positive reactions.

The critics are impressed by the aesthetics and form of the film, which does not explain the "artist, self-promoter, thinker and provocateur" Beuys in a "masterfully assembled collage", but rather shows it "in all its contradicting, disarmingly funny radicalism." In addition, the reviewers agree that the film illustrates the visionary power in Beuys' thinking of the “expanded concept of art” and recognize “in a time of submerged political utopias” in Beuys a “source of fresh inspiration”. The film is a “virtuoso approach to a very contemporary artist,” who “understood art not as a decorative element, but as active participation” and thus “did not leave the shaping of society to the political caste, but wanted to spark citizenship”. Beuys' ideas are the "blueprint for liquid democracy and the radical questioning of a financial and economic architecture that is supposed to have no alternative". "Andres Veiel's main merit should be that after the film you can see that someone like Joseph Beuys is missing," stated Magdi Aboul-Kheir in the Südwest Presse .

Further documentary film works

On September 5, 2008, Veiel shot the segment through the editor-in-chief of Bild - Zeitung for Volker Heise's 24-hour documentary film project 24h Berlin - A Day in Life , which was broadcast exactly one year later on several television channels and thus one of the reality TV format added new dimension.

In 2013 Veiel shot a short documentary as part of the ARD project 16x Germany . He portrayed the struggle for survival of “Germany's oldest driving instructor”, who at the age of 83 is still helping learner drivers get their driving license. It was first broadcast on October 6, 2013.

In the same year Veiel worked on a documentary for the TV event 24h Jerusalem . He accompanied a UN worker on his difficult mission in the Palestinian refugee camps. 24h Jerusalem was broadcast on ARTE and BR in April 2014 .

motion pictures

Who, if not we

Veiel's first feature film, Who if Not Us , was shot in 2010 and was invited to the 2011 Berlin International Film Festival, where it won the Alfred Bauer Prize . The film has the background to the RAF and revolves around the people Bernward Vesper , Gudrun Ensslin and Andreas Baader . The main actors were August Diehl , Lena Lauzemis and Alexander Fehling . Veiel's feature film debut tells a political love story that ends in terror. Who, if not us, is shaking the usual explanatory theses for the developments of the RAF in the following years. Gerd Koenen's study Vesper, Ensslin, Baader - Primal Scenes of German Terrorism served as a template for the script . Veiel has also researched and collected material for the individual characters in the film over the years.

The film was received controversially. For the Süddeutsche Zeitung , Who if Not Us is “a history of German terrorism that has never been told in such biographical urgency and an exciting lesson on the search for identity of young Germans after the war”. The time judges, however, that Veiel "shot the better Baader-Meinhof complex , who if not us is still nothing more than a film biography".

Who, if not us , has received numerous awards, including the German Film Prize in bronze in 2011, the Hessian Film Prize for the best feature film and the best leading actress, and two prizes (best silver film, best male leading actor) at the European Cinema Film Festival in Seville.

The script was nominated for the 2009 Thomas Strittmatter Script Award.

Theater works

You can have it all in here

In 1987 Veiel developed the documentary theater play Here you can have everything with inmates of the Berlin-Tegel prison . The play, which was performed by the prisoners in the prison, is based on minutes of conversations with the prisoners and shows everyday life in prison using the example of a newcomer's struggle for survival in the drug prison.

The last rehearsal

In 1989 Veiel developed the fictional drama The Last Rehearsal for the Berlin senior theater group Die Herz Pacmacher, using the play Marat / Sade by Peter Weiss . In the play, which was performed at the Theater am Halleschen Ufer and at the Berlin Academy of the Arts , the routine of an old people's home is shaken by an evening at the theater that is staged by the residents themselves. Based on the theater work The Last Rehearsal , Veiel's first full-length documentary Winternachtstraum (→ Documentary) was made.

The kick

Together with the dramaturge Gesine Schmidt, Veiel wrote the documentary theater piece Der Kick , which premiered in April 2005 at the Basel Theater and the Maxim Gorki Theater in Berlin. The play deals with the murder of the young man Marinus Schöberl in 2002 by three neo-Nazis in the Brandenburg village of Potzlow and is in the tradition of the documentary theater of Peter Weiss and Heinar Kipphardt .

In 2006, Der Kick was invited to the Berlin Theatertreffen and to numerous guest performances at home and abroad. The play has so far been performed by more than seventy theaters in German-speaking countries and has been translated into seven languages. Veiel's own documentary about the subject was premiered at the Berlin International Film Festival in 2006 (→ Documentary). In 2005, RBB Kulturradio, in cooperation with Südwestrundfunk, produced a radio play version of Der Kick , which was awarded the Robert Geisendörfer Prize in 2007 , with Veiel editing the radio play and Martin Zylka directing it.

The raspberry kingdom

In 2012, Veiel developed the piece Das Raspbeerreich from a 1400-page collection of interviews with 24 former bank executives , which premiered under Veiel's direction in January 2013 at the Staatstheater Stuttgart and the Deutsches Theater Berlin . The title goes back to Gudrun Ensslin , who used the expression “raspberry kingdom” as a synonym for a consumer-oriented world of goods. The play and its staging were received controversially. While some reviewers accused the evening in its documentary seriousness of lacking stage effectiveness, others attested the text a powerful clarity and saw in Veiel's reduced staging style the basis on which the highly complex interrelationships of the financial world would be brought to a sensual and understandable level.

Veiel's raspberry kingdom was shown 60 times and invited to numerous guest performances. The disputes that regularly take place after the performance developed into a format of their own due to the controversial debates with Peer Steinbrück , Heiner Flassbeck and Joseph Vogl, among others .

The raspberry kingdom has since been performed on other German-speaking stages, including in Salzburg, Kassel, Nuremberg, Freiburg, Frankfurt, Cottbus, Cologne and Aachen. The production of the Cologne theater in the building tower was nominated for the Cologne Theater Prize and for the Kurt Hackenberg Prize for Political Theater 2014. The Aachen Theater -Inszenierung of Bernadette Sonnenbichler was invited to the Theatertreffen NRW, 2014. In addition, Das Raspberry Kingdom has so far been translated into more than seven languages ​​and presented in several readings and productions abroad. The RBB produced in co-production with the Hessian Radio in 2014 under the direction of Ulrich lamps , a radio play version, which among other things from Germany radio was taken and other broadcasters.

Andres Veiel expanded his research in the financial sector for a dossier in the weekly newspaper Die Zeit (issue of October 22, 2015), which he wrote together with Marc Brost . For this they received the Ernst Schneider Prize and the German Journalist Prize 2016.

Project What future ?! - Let Them Eat Money

In 2017, Andres Veiel developed an interdisciplinary, participative research and theater project on the future of the next ten years with the author Jutta Doberstein and in cooperation with the Deutsches Theater Berlin and the Humboldt Forum . Together with international scientists, artists and the audience, the four-part series of events explores the relationship between knowledge, prediction and design. WHAT FUTURE ?! tests new forms of participation in order to initiate a public dialogue about future societies between academic and scientific thinking and artistic interpretation.

  • Public research: laboratory and symposium

It started in September 2017 with a laboratory at the Deutsches Theater, in which scenarios on the future development of the financial system, the economy, the climate, food production and work were condensed into a jointly developed narrative for the next ten years in workshops. A symposium followed in April 2018, in which workshops and plenums were used to develop new models for the future of work and the role of a future state. The results of the laboratory and symposium were incorporated into a play that premiered at the Deutsches Theater in September 2018: Let Them Eat Money - What Future ?!

  • theatre

The piece jumps into the year 2028 and looks back from the future on the development of the past ten years, in which Europe will be shaken by a new economic and financial crisis in 2026. Southern European countries are leaving the EU, the rest of the northern EU is trying to counteract this by introducing an unconditional basic income. It wants to make a contribution to social justice and not only be perceived as a guarantee of the free movement of goods and capital. Special economic zones are emerging on artificial islands off the coasts, which are increasingly undermining the social order in the NORTHERN EU. Riots break out. The crisis is only dealt with pro forma by state committees of inquiry; the results have no consequences whatsoever. The resistance movement “Let them eat money” is pushing into this gap, kidnapping those responsible and wanting to hold them accountable. The tribunal of the resistance movement and the tracing of the decision-making paths of those responsible are the subject of the play.

The evening at the theater met with a divided response. For Deutschlandradio Kultur , the piece is a "highly exciting thought experiment, a cleverly thought-out dystopia that is never satisfied with simple questions or simple solutions and is often close to the problems of reality." Veiel also drives for the Frankfurter Allgemeine Zeitung (FAZ) , who is known for "translating art politically, (...) the crisis-ridden thinking of: Dreaming of better times was yesterday." "A sparkling intelligence" attests the taz to the play and praises the "incisive images, skillfully used" in the production media effects, polished dialogues and sophisticated twists. ”At the same time, however, she lacked“ rhythm, language modulations - and pauses. ”While the Süddeutsche Zeitung criticized the fact that the piece seemed so virtual“ as if it were generated by software ”and“ only traces of life "Discovered, the FAZ likes the powerful game that makes the piece worth seeing, in addition to the" coherence ... of the music, the characters and the story ". The Berliner Zeitung, on the other hand, believes it can identify the epicenter of the play “from tomorrow to today”: “What traces can already be seen that bring the fictional super-disaster into the realm of the conceivable?” The New York Times finally pays tribute to both successful dramatization of the complex theme worlds as well as the undogmatic staging style respect. "The script (...) does a fine job dramatizing the complex ideas developed during the workshops, explaining complex hypothetical economic and political scenarios in clever and nuanced ways. (...) The result is an engrossing drama that skillfully avoids preaching or propagandizing. "

Discussions with renowned scientists, politicians and experts take place regularly after the performances, during which individual aspects of the play are discussed in depth and controversially. The debates and controversies surrounding the play will flow into the final conference planned for 2020, the last stage of the “What future ?!” project. Like the 2018 Symposium, the final conference will be held in cooperation with the Humboldt Forum .

Non-fiction

In addition to his films and plays, Andres Veiel also explores his subjects in non-fiction books. Black Box BRD. Alfred Herrhausen, Deutsche Bank, RAF and Wolfgang Grams go far beyond the film of the same name in his extensive research. Der Kick was published in February 2007 . A didactic piece about violence, for which he was awarded the 2008 German Youth Literature Prize in the non-fiction category. It consists of the play Der Kick (→ theater works) and the three times as extensive approximations. According to Jens Bisky in the Süddeutsche Zeitung , this book “could become a classic: as a history book about the present as well as a model analysis of a violent crime”.

Teaching assignments

Veiel was or is a lecturer at various film schools and universities, including the German Film and Television Academy Berlin (dffb), the Free University of Berlin , the University of Zurich , Ann Arbor (Michigan University, USA), in Johannesburg, New Delhi, Calcutta, Osaka, Cairo and Tunis. He is a member of the European and German Film Academy and the Berlin Academy of the Arts .

Awards (selection)

  • 1993: FICC Prize of the International Leipzig Documentary Film Week for Balagan
  • 1993: Foundlings Prize at the International Leipzig Documentary Film Week for Balagan
  • 1994: Otto Sprenger Prize for Balagan
  • 1994: Peace Prize of the Berlin International Film Festival for Balagan
  • 1994: German Film Prize (film ribbon in silver) for Balagan
  • 1996: Main prize of the Munich International Documentary Film Festival for the survivors
  • 1996: German Film Award (nomination) for The Survivors
  • 1998: Adolf Grimme Prize for The Survivors
  • 2001: Bavarian Film Prize for Black Box BRD
  • 2001: Hessian Film Award for Black Box BRD
  • 2001: European film award for Black Box BRD
  • 2002: German Film Award for Black Box BRD
  • 2002: Santa Barbara International Film Festival Insight Award for Black Box BRD
  • 2002: Golden Weingarten film reel for Black Box BRD
  • 2004: Panorama Audience Award at the Berlin International Film Festival for Die Spielwütigen
  • 2004: German Film Critics' Prize for Die Spielwütigen
  • 2004: Munich International Documentary Film Festival, main prize from Bavarian Radio for Die Spielwütigen
  • 2005: Baden-Württemberg Documentary Film Award for Die Spielwütigen
  • 2005: European Film Award (nomination) for Die Spielwütigen
  • 2005: Konrad Wolf Prize
  • 2006: Prize to promote German film art from the DEFA Foundation
  • 2006: Friedrich-Luft-Preis: Best Berlin production Der Kick
  • 2006: Nyon Visions Du Reel: Grand Prix for Der Kick
  • 2006: New Berlin Film Award (best feature film) for ´ Der Kick
  • 2006: Film of the year of the Evangelical Jury Der Kick
  • 2007: Robert Geisendörfer Prize for Der Kick (radio play)
  • 2008: German Youth Literature Prize for Der Kick
  • 2011: Alfred Bauer Prize for who if not us
  • 2011: Gildepreis der Filmkunsttheater for who if not us
  • 2011: German film award in bronze for who if not us
  • 2011: Hessian Film Award for Who if Not Us
  • 2011: Pune International Film Festival: Best International Film
  • 2011: Sevilla Festival de Cine Europeo: Geraldillo de Plata / Best film (Silver) Who if not us / Qien sino nosotros
  • 2012: German Audio Film Award (Best Feature Film) for Who if Not Us
  • 2012: Santo Domingo International Muestra de Cine: Best Film Who if not us / Qien sino nosotros
  • 2016: Ernst Schneider Prize for you, you call it the house where you died in Die Zeit . October 30, 2015
  • 2016: German Journalist Award for you call it death house in Die Zeit . October 30, 2015
  • 2017: Federal Cross of Merit 1st class
  • 2017: Gilde Film Prize , category best documentary for Beuys
  • 2017: Bavarian Film Award (Best Editing) for Beuys
  • 2018: German Film Award in Gold (Best Documentary) for Beuys
  • 2018: German Film Award in Gold (Best Editing) for Beuys
  • 2018: Nomination for the German Film Prize (Best Music) for Beuys
  • 2018: German Documentary Film Music Prize for Beuys

Filmography

  • 1992: Winter Night's Dream , documentary, 82 minutes
  • 1993: Balagan , documentary, 90 minutes
  • 1996: The Survivors , documentary, 90 minutes
  • 2001: Black Box BRD , documentary film, 101 minutes
  • 2004: Die Spielwütigen , documentary, 108 minutes
  • 2006: The Kick , feature film, 82 minutes
  • 2011: Who if not us , feature film, 124 minutes
  • 2017: Beuys , film biography, 107 minutes

Plays / productions

Fonts

  • You can have it all in here. A piece of jail. In: Theater, Theater. Current pieces. Volume 2, S. Fischer Verlag, Frankfurt am Main 1992.
  • The last rehearsal. A piece of revolution in the nursing home. Play in 3 acts. S. Fischer Verlag, Frankfurt am Main 1991.
  • Black Box BRD. Alfred Herrhausen, Deutsche Bank, RAF and Wolfgang Grams. Deutsche Verlags-Anstalt, Munich 2002, ISBN 3-421-05468-1 .
  • The kick. A lesson on violence. Deutsche Verlags-Anstalt, Munich 2007, ISBN 978-3-421-04213-2 .
  • with Gerd Koenen: 1968. Image trace of a year. Fackelträger Verlag, Cologne 2008, ISBN 978-3-7716-4359-1 .
  • with Beatrice Ottersbach (Ed.): Documentary. Workshop reports. UVK Verlagsgesellschaft, Konstanz 2008, ISBN 978-3-86764-085-5 .
  • Raspberry rich. In: Theater, Theater. Current pieces. Volume 24, S. Fischer Verlag, Frankfurt am Main 2013, ISBN 978-3-596-19707-1 .

literature

  • Nikolas Fischer: The cinema of Andres Veiel. Political films in a balancing act between document and fiction. Mensch und Buch Verlag, Berlin 2009, ISBN 978-3-86664-527-1 .
  • Claudia Lenssen: Andres Veiel. Controversial time images. Schüren, Marburg 2019, ISBN 978-3-89472-717-8 .

Web links

Individual evidence

  1. ^ Berliner Festspiele: Short portrait of Andres Veiel. Berliner Festspiele - Theatertreffen: Internat. Forum 2012 Workshop 1 - Theater fabric research. (No longer available online.) Archived from the original on January 18, 2016 ; accessed on July 6, 2018 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.berlinerfestspiele.de
  2. ↑ Internat. Forum 2012 Workshop 1 - Theater fabric research. Under the direction of Andreas Veiel. (No longer available online.) Haus der Berliner Festspiele, archived from the original ; accessed on April 9, 2019 .
  3. ^ German Historical Museum for the exhibition of Andres Veiel's work. Exhibition in January 2007. German Historical Museum , accessed on April 9, 2019 .
  4. ^ Herbert Spaich: The documentaries of Andres Veiel. SWR film blog on the occasion of the publication of the “Andres Veiel Box” with five films as part of the “Edition of the Filmmakers” in March 2011. SWR film blog, April 14, 2011, accessed on April 9, 2019 .
  5. ↑ Anne Frederiksen: The Righteous. In: The time. April 29, 1994.
  6. ^ A b Martina Knoben: Political life stories: The documentary film director Andres Veiel. German Film Institute and Film Museum, June 3, 2004, accessed on April 9, 2019 .
  7. ↑ a b Volker Baer: Balagan. Film service, accessed April 9, 2019 .
  8. ↑ Ken Shulman: Youth and the Legacy of the Holocaust. In: The New York Times. January 15, 1995
  9. ^ Jury of Protestant Film Work: Balagan. (PDF; 456 kB) Recommended film for May 1994. Retrieved on April 9, 2019 .
  10. ↑ Anne Frederiksen: The Righteous. In: The time. April 29, 1994.
  11. ↑ Grimme Prize Archive ( Memento from December 20, 2016 in the Internet Archive )
  12. ↑ Ulf Erdmann Ziegler: Three of us who broke up. In: The time. November 1, 1996.
  13. ↑ Merten Worthmann: Andres Veiel's great film "The Survivors": Information about adapting. In: Berliner Zeitung. October 28, 1996.
  14. ^ Black Box Germany. Movie review. Retrieved April 9, 2019 .
  15. ^ Black Box FRG (2001). Cinema of the World, October 17, 2014, accessed April 9, 2019 .
  16. ↑ Katja Nicodemus: The debt relief. taz.de, May 23, 2001, accessed on April 9, 2019 .
  17. ↑ Wolfgang Höbel: The great soul flutter. In: Der Spiegel. May 29, 2004
  18. ↑ Katja Nicodemus: You can't learn art. In: The time. June 3, 2004.
  19. ↑ Birgit Glombitza: The violence is already there. In: taz. September 21, 2006.
  20. ^ The multiples of Joseph Beuys. Retrieved March 19, 2017 (American English).
  21. ↑ DPA : "Beuys asked the right questions 30 years ago". Monopol - Magazin für Kunst und Leben, February 14, 2017, accessed on April 9, 2019 .
  22. ↑ Claudia Schwartz : Schlöndorff at the Berlinale: The country is big, and rescue is lurking everywhere . In: Neue Zürcher Zeitung . February 17, 2017 ( nzz.ch [accessed March 19, 2017]).
  23. ↑ a b Hanno Rauterberg: Beuys - Ööh, ööh, öön. In: Die ZEIT. May 17, 2017. Retrieved July 6, 2018 .
  24. ^ "Beuys" - meeting Andres Veiel. ARTE, March 16, 2017, accessed April 9, 2019 .
  25. ↑ Barbara Möller: “Yes, Yes, Yes, Yes, Yes. No, No, No, No, No ” . In: THE WORLD . May 19, 2017 ( welt.de [accessed July 6, 2018]).
  26. ↑ Stuttgarter Zeitung, Stuttgart, Germany: Berlinale: The dust on our shoulders . In: stuttgarter-zeitung.de . February 14, 2017 ( stuttgarter-zeitung.de [accessed March 19, 2017]).
  27. ^ ZDF Aspects of February 17, 2017
  28. ↑ Rainer Gansera: Between honey and gold leaf . In: sueddeutsche.de . 2017, ISSN  0174-4917 ( sueddeutsche.de [accessed on July 6, 2018]).
  29. ↑ mdr.de: Berlinale 2017 | “Beuys - an enormously political film” | MDR.DE. (No longer available online.) Archived from the original on March 18, 2017 ; accessed on March 19, 2017 (page no longer available).
  30. ↑ Klaus Grimberg: Berlinale Competition 2017: Convincing documentary: Andres Veiel's “Beuys” . February 14, 2017 ( noz.de [accessed March 19, 2017]).
  31. ↑ Claudia Schwartz: Schlöndorff at the Berlinale: The country is big, and rescue is lurking everywhere . In: Neue Zürcher Zeitung . February 17, 2017 ( nzz.ch [accessed March 19, 2017]).
  32. ↑ SWR Kunscht! from February 9, 2017 / https://www.youtube.com/watch?v=prHKlxozk10
  33. ↑ German Film Prize 2018: "Beuys" has received two awards. | SWR television . In: swr.online . June 24, 2019 ( swr.de [accessed July 6, 2018]).
  34. ^ Südwest Presse Online-Dienst GmbH: Berlinale film “Beuys”: Artist biography worth seeing . In: swp.de . February 15, 2017 ( swp.de [accessed March 19, 2017]).
  35. ↑ Ursula March: A Human Day in Berlin. In: The time. September 3, 2009.
  36. ↑ 16 x Germany / Baden-Württemberg on zeerone.de ( Memento from January 18, 2016 in the Internet Archive )
  37. ↑ 16x Germany - People - Places - Stories ( Memento of April 4, 2014 in the Internet Archive )
  38. ↑ Eckhard Fuhr: A puzzle whose parts do not fit together. In: The world. April 11, 2014.
  39. ↑ 24h Jerusalem ( Memento from January 18, 2016 in the Internet Archive )
  40. ↑ Peter Schneider: The joyless of those years. In: Der Tagesspiegel. March 10, 2011.
  41. ^ Rainer Gansera: The Vesper-Ensslin complex. In: Süddeutsche Zeitung. March 10, 2001.
  42. ↑ Carolin Ströbele: In bed with Gudrun Ensslin. In: The time. February 18, 2011.
  43. ↑ You can have it all in here. Synopsis of the piece at Fischer Theaterverlag. Retrieved April 9, 2019 .
  44. ↑ The last rehearsal. Synopsis of the piece at Fischer Theaterverlag. Retrieved April 9, 2019 .
  45. ↑ The kick. Synopsis of the piece at Fischer Theaterverlag. Retrieved April 9, 2019 .
  46. ↑ Winner since 1983. Accessed April 9, 2019 .
  47. ↑ Verena Großkreutz: Announce of bulging money chambers. Review round-up on Nachtkritik.de. January 11, 2012, accessed April 9, 2019 .
  48. ↑ Wolfgang Höbel: THEATER: As long as the milk lasts . In: Spiegel Online . tape 1 , December 31, 2012 ( spiegel.de [accessed April 9, 2019]).
  49. ^ Roland Müller: Flirts with Mephisto. In: Stuttgarter Zeitung. January 14, 2013.
  50. ^ Deutsches Theater Berlin: Deutsches Theater Berlin - Das Himbeerreich, by Andres Veiel. Retrieved April 9, 2019 .
  51. ^ Konrad Kögler: Andres Veiels "Himbeerreich": political education on casino capitalism. ( Memento from January 18, 2016 in the Internet Archive )
  52. ↑ Konrad Kögler: Peer Steinbrück argues at DT with Andres Veiel about “Raspberry Empire” and the lessons from the financial crisis ( memento from January 18, 2016 in the Internet Archive ) . Kulturblog @ e-politik.de, January 10, 2015
  53. ↑ Theater in the building tower. Occupation. Retrieved April 9, 2019 .
  54. ↑ The best plays from NRW at the Schauspiel Dortmund. NRW Theatertreffen 2014: June 13th to 20th. Retrieved April 9, 2019 .
  55. ↑ ANDREAS Veiel: Malinový SVĚT | PLATFORMA - scénické čtení | Facebook. Retrieved April 9, 2019 (Czech).
  56. ↑ The raspberry kingdom by Andreas Veiel. ARD program entry for broadcast. December 13, 2014, accessed April 9, 2019 .
  57. ↑ Marc Brost, Andres Veiel: They call it the house of death. In: The time. October 30, 2015.
  58. ↑ Award ceremony | Ernst Schneider Prize. Retrieved March 19, 2017 .
  59. ^ Formativ.net oHG, Frankfurt am Main / Karlsruhe: GERMAN JOURNALIST PRIZE Economy | Stock exchange | Finance (djp). Retrieved March 19, 2017 .
  60. ↑ Home page: What future ?! Retrieved April 9, 2019 .
  61. ↑ Embrace doom . In: Der Tagesspiegel Online . September 18, 2017, ISSN  1865-2263 ( tagesspiegel.de [accessed May 2, 2018]).
  62. ↑ What future ?! Andres Veiel and Jutta Doberstein at the Deutsches Theater. (No longer available online.) The radioeins roof lounge, archived from the original ; accessed on April 9, 2019 .
  63. ↑ 3sat.online: What future ?! - Workshop day at the Deutsches Theater Berlin - 3sat.Mediathek. September 18, 2017, accessed May 2, 2018 .
  64. ↑ Citizens' forum on future state design - New freedoms need new regulations . In: Deutschlandfunk Kultur . April 22, 2018 ( deutschlandfunkkultur.de [accessed May 2, 2018]).
  65. ↑ Interview - “Shortly before the uprising”. Retrieved May 2, 2018 .
  66. ^ Let Them Eat Money. World premiere on September 28, 2018. What Future ?!, accessed on April 9, 2019 .
  67. ↑ Premiere of “Let Them Eat Money” in Berlin - The islands in the North Sea will be our refuge . In: Deutschlandfunk Kultur . September 28, 2018 ( deutschlandfunkkultur.de [accessed November 27, 2018]).
  68. ^ Deutsches Theater Berlin: Deutsches Theater Berlin - Let Them Eat Money. What future ?!, by Andres Veiel in collaboration with Jutta Doberstein. Retrieved November 27, 2018 .
  69. ↑ Stefan Reinecke: Play "Let Them Eat Money": It's the practical necessity, stupid! In: The daily newspaper: taz . September 30, 2018, ISSN  0931-9085 ( taz.de [accessed November 27, 2018]).
  70. ↑ Jörg Häntzschel: The many meta levels of the crisis . In: sueddeutsche.de . September 30, 2018, ISSN  0174-4917 ( sueddeutsche.de [accessed November 27, 2018]).
  71. ^ Deutsches Theater Berlin: Deutsches Theater Berlin - Let Them Eat Money. What future ?!, by Andres Veiel in collaboration with Jutta Doberstein. Retrieved November 27, 2018 .
  72. ↑ Janis El-Bira: New relevance theater: "Let Them Eat Money" at DT and "Die Gerechten" at Gorki . In: Berliner Zeitung . September 30, 2018 ( berliner-zeitung.de [accessed November 27, 2018]).
  73. ^ German Plays Tackle the World's Woes, Current and Future . November 21, 2018 ( nytimes.com [accessed November 27, 2018]).
  74. ^ Deutsches Theater Berlin: Deutsches Theater Berlin - Let Them Eat Money. What future ?!, by Andres Veiel in collaboration with Jutta Doberstein. Retrieved November 27, 2018 .
  75. ↑ Jens Bisky: Anyone who shows weakness will fall. How do you understand violent crime? Andres Veiel's shockingly instructive book about the murder of Marinus Schöberl. In: Süddeutsche Zeitung. March 20, 2007.
  76. ↑ programmkino.de: Artistic cinema, films, reviews, art cinema, art house cinema, AG Kino-Gilde. Retrieved January 16, 2018 .
  77. ↑ The winners 2018: German Film Award. (No longer available online.) German Film Academy, archived from the original on May 2, 2018 ; accessed on May 2, 2018 .
  78. ↑ DOK.fest Munich . In: DOK.fest Munich . 2018 ( dokfest-muenchen.de [accessed on May 2, 2018]).
  79. ^ Production Let Them Eat Money. What future ?! , Deutsches Theater Berlin, accessed November 19, 2018
  80. ↑ Christine Wahl: "Meine Insel, mein Staat" , review in Der Tagesspiegel on September 29, 2018, accessed November 19, 2018
personal data
SURNAME Veiel, Andres
BRIEF DESCRIPTION German theater and film director
DATE OF BIRTH October 16, 1959
PLACE OF BIRTH Stuttgart