Anne Tismer

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Anne Tismer (born August 9, 1963 in Versailles ) is a performance artist , actress and co-founder of the art and theater house Ballhaus Ost .

life and work

childhood and education

With Nina Petri is Tismer prepared for the entrance examination at the Max Reinhardt Seminar ago

Anne Tismer was born in Versailles in 1963 . The Tismer family moved more often for professional reasons. Anne Tismer spent the first years of her childhood in France, Holland, Spain and the USA. As a young girl, she came to Hamburg with her five siblings, where she attended high school. She discovered acting for herself at the school theater in the Hamburg Museum of Art and Industry . "This is the world I wanted to be in," she said. After graduating from high school in 1982, however, Tismer began to study law and sinology at Hamburg University , perhaps to become a diplomat and thus meet the family's expectations. But doubts as to whether this would be the right profession grew stronger. She secretly traveled with her friend Nina Petri , whom she knew from the school theater, on audition tours to various drama schools. She was accepted on her first attempt at the Max Reinhardt Seminar in Vienna and began her acting training there in 1983; she broke off her studies in Hamburg after two semesters. A year before the end of the four-year training, Tismer left drama school in 1986 without a degree.

First stage experience

In the 1986/87 season, Tismer began her stage career with the play Kindsmord by Peter Turrini in the Drachengasse Theater in Vienna, directed by Ernie Mangold .

Tismer's first engagement in 1987, at the Bonn Theater under Peter Eschberg , turned out differently than expected: “I ran amok there, nothing was as I had thought before,” she said. Because of “refusal to work” (Tismer is said to have persistently refused to appear naked), and possibly “naughty behavior”, she was dismissed without notice. In retrospect, Tismer describes it as follows: “If it's supposed to be my life to work with Peter Eschberg, then I'd rather not go to the theater at all.” After the disappointment in Bonn, she also got the play Ribble Bubble Pimlico by Kurt Schwitters , in which a then unknown stage musician, Christoph Marthaler , took over the direction because the intended director fell ill. The two harmonized; the joint work on the role could begin in the evening in a pub in a relaxed atmosphere and continue the next day at the rehearsal in the theater.

In 1988 Tismer played together with Sophie Rois , who had been above her at the Max Reinhardt Seminar in the year, and students from the Mozarteum in the art action Presence of Memory based on the novel by Gert Jonke , directed by Robert Hunger-Bühler, at various locations in the Rhineland . Tismer and Hunger-Bühler married and had their daughter Okka Hungerbühler in 1988 (whose name is spelled without a hyphen); they separated in 1993, but without divorcing. A decade later, Hunger-Bühler described their relationship with the words that he and Tismer were “like two burning bushes” when they were still together. “There should be actors who can simply switch off after work. We couldn't. ”Tismer said of Hunger-Bühler - also a decade after the breakup:“ Still the only one for me, everywhere, in all the pieces I see, the others can play whatever they want. I see, I wake up and am sensually touched by him. It was given to him, he just is. "

The time with Jürgen Kruse

At the Stadttheater Freiburg , director Jürgen Kruse also used Tismer as a singer in a country rock band

After leaving the Bonn theater, Tismer didn't have to wait long for her next chance. The new director of the Stadttheater Freiburg , Friedrich Schirmer , had hired the " young and wild " Jürgen Kruse as senior director. And Kruse entrusted the leading role to the unknown actress Tismer in his opening production. Tismer said to Kruse's theater: “The intensive was so attractive. You want to be there when someone really wants something. ”This first joint collaboration in 1989 in Freiburg caused a sensation.

Judith beheads Holofernes by Artemisia Gentileschi

Kruse commented on the success in his own diction: “The Judith was a crusher, the thing.” The theater critic Gerhard Jörder described Tismer's play in Friedrich Hebbel's Judith : “The young actress uses many different stylistic devices that seem strange at first sight difficult role of the raped seductress together: a highly articulate speech, always turned into the artificial, up to mechanically jerky, even jerky speech, a hysterical, shrill, clinking whisper during a conversation with God, then big, moving vengeance angel poses; finally, after the murder, a state of quiet, almost mannered trance - a sleepwalker who carries the severed head of her lover with her like a toy. "

For Jürgen Kruse, who always had to listen to the Rolling Stones loudly in order to be able to work at all, part of this collaboration was that his actress was able to stand on stage as a singer. In addition to numerous normal concerts, Kruse played the country rock band “The Raiders of the Rainbows feat. Anne Tismer ”also frequently appears in his productions. His rehearsals lasted from 4 p.m. to midnight, and the time after that could be part of working hours. “That was very difficult with the rehearsal times,” said Tismer, “you had to be there for Jürgen before the rehearsals, for discussions, and there were longer discussions after the rehearsals.” However, further success was not lacking. The miraculous Schuster wife of Lorca in 1992 in a production by Kruse with Tismer in the title role was awarded the prize of the Heinrich Enrique Beck Foundation. In this piece, as in 1990 in the Prince of Homburg , she was on stage with her husband Robert Hunger-Bühler. For the title role in Richard II by Shakespeare in the production by Kruse, Tismer was then awarded in 1994 by the magazine Prinz . She once described this role at the Staatstheater Stuttgart as her most significant. The critic Ulrike Kahle wrote about this role: “She was Richard. Sat on her throne, made crowns. Thrown into the king's existence. An overwhelmed child who has to play king. Lonely, trapped, exposed. Never left this throne at the front of the ramp, no life besides office, seat, burden. Anne Tismer played the child king in constantly changing vocal and speaking positions. Speaking like something foreign, imposed: shrill, frightened, greasy, delicate, boyish, trumpet. Child-man-mega-figures, virtuoso, true, polyphonic. "

The young, unknown actress had become the muse of a director who followed him everywhere. From 1989 to 1994 she worked almost exclusively with Kruse at the Stadttheater Freiburg , the Schauspiel Frankfurt and the Staatstheater Stuttgart . In 1995 Leander Haußmann appointed Kruse to the management team of the Bochum theater . For the single mother Tismer there was a turning point when she moved to Bochum. She said: “On the one hand it is very intense with Jürgen, on the other hand it is also very sick. You can't really raise a child if you don't tailor your life a little to the child. When she started school, I had to limit it. ”In Bochum, Tismer also began to lose the joy of playing in a directing concept in which a play that an author had worked on for years was remodeled within a few minutes on the rehearsal stage. Regardless of that, the success stayed true to her. For the title role in the Medea by Euripides in the production of Kruse, she received the actor's award of the NRW-Theatertage in 1996. But after seven years, Tismer and Kruse parted ways.

The rise to a theater star

Tismer became a freelance actress. She concentrated on working with directors, "whom she is looking for because they are looking for them for a very specific production", and who did not "tear up" the texts and the material, but rather worked them out carefully. She found Peter Stein , Dieter Giesing and Luc Bondy . Dieter Giesing's production of Die Schwärmer by Robert Musil with Anne Tismer as Regine in 1997 was awarded the Bavarian Theater Prize. The critic Christine Richard wrote about Tismers play in this piece: “With the director Jürgen Kruse, this exorcist who drives out his naturalism from the theater, Tismer often got something highly artificial, failed affect to affect, to shrill act. However, those who gently touch them as a director can bring about miracles of theater transformation. Then Anne Tismer has a perfect stage presence in the middle of the text and at the same time stands next to herself, seems lost in dreams, somnambulistic - as in Giesing's Zurich production of Musils 'Schwärmern'. ” During the Vienna Festival in 1998, Tismer played Susanne in Figaro divorce by Odon von Horvath , directed by Luc Bondy. In the vote for Actress of the Year , she was able to unite four of 42 critical votes with these two roles, which brought her, together with Caroline Ebner , (also four votes for two roles), the second place; it won Natali Seelig by six votes to two roles.

In May 1999 Tismer was invited to the Berlin Theatertreffen for the first time with two plays . In addition to Figaro lets divorce , The Kiss of Forgetting by Botho Strauss , directed by Matthias Hartmann, made it into the selection of the ten best productions of the year. In the 1999 Actress of the Year election, Tismer received seven votes from 39 critics for her role as Ricarda in The Kiss of Forgetting , placing her second behind Angela Winkler, who received eight votes. Benjamin Henrichs wrote about her Ricarda: “ Even those who have been to the theater for a long time have to say afterwards: they have never seen such a performance, such an actress! (…) Now everyone knows that everyone consists of many different people. Anne Tismers Ricarda does not combine and mix these different human beings into a single, artfully complex creature. She breaks the figure (even more radically than the author Strauss) into its individual parts. It's an actor's feat and an act of violence, but it's also realism. "

Schaubühne on Lehniner Platz

During the Berlin Theatertreffen in 1999, Tismer said that she no longer wanted to be tied to a permanent ensemble, that she was a loner and would prefer distance. At that time she moved to Berlin with her growing daughter, where she found an apartment in Kreuzberg in the same house as her younger sister. Regardless of her increased popularity, which made it easier for her to get roles, she was worried about the uncertainty of when the next engagement would come. As a member of an ensemble, she not only had an artistic home, but was also financially secure. In Berlin she looked around the theater scene and soon only attended the performances of the Schaubühne on Lehniner Platz . She was particularly impressed by the work of Thomas Ostermeier . She said: “I only went to this theater here. That was the only place where I felt comfortable. I thought I have to be here, I always have to go here, here, here, here I find the environment in which I am not empty. ”But she did not dare to apply.

In the Berlinale in 2001 the movie had My slow life of Angela Schanelec premiere in which the Tismer Marie plays. After the student short film Snow White by Andreas Geiger from 1996, in which Tismer's daughter Okka Hungerbühler played, this was only her second appearance in front of the camera, as she does not work for television.

In the Schaubühne collective

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At the Schaubühne, Tismer's greatest success was celebrated in the role of Nora .

Thomas Ostermeier noticed that Tismer was a frequent guest in his theater. Since he didn't know her personally, there was no contact at first. When Anne Tismer stepped in for a reading at the Schaubühne, the impression of the rehearsal alone was enough for him to immediately drive to Bochum, where Tismer was on stage at the time as Ricarda in the kiss of oblivion . Ostermeier made Anne Tismer, the theater star, an offer on the terms of the Schaubühne: She would get the same low salary as everyone else and, like all actors, was obliged to play what was assigned to her.

For autumn 2002, Ostermeier decided to stage Henrik Ibsen's play Nora or Ein Puppenheim and selected Tismer for the lead role. At first she didn't want to play the role because it would have to enlarge certain aspects of her personality that she found uncomfortable.

From 2001 to 2005 she worked at the Schaubühne am Lehniner Platz in Berlin and at the Theater am Turm with Tom Kühnel the title role in Die heilige Johanna der Schlachthöfe by Bertolt Brecht and with Thomas Ostermeier the title role in Nora or Ein Puppenheim by Henrik Ibsen and the title role of Lulu by Frank Wedekind . For the role of Nora she was elected Actress of the Year in 2003 and received the award of the German Association of Critics.

Artistic realignment

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In 2003 Tismer began to shoot art videos regularly with Bianca Schönig, an artist friend and gallery owner. Since 2005 she has appeared in works by John Bock and developed her own art actions.

In 2005 she founded the Gutestun collective with the performer Rahel Savoldelli , a group that develops its own pieces on the basis of current events in collective work and which now consists of several members. Anne Tismer's art actions have already made guest appearances in Europe, America and Asia.

The collective Gutestun and Anne Tismer as action artists have been involved in the theater and art project Ballhaus Ost since 2006 .

Critical review of the theater

In an interview with Ijoma Mangold for Zeit Magazin in June 2010, Tismer took a critical look back at her time in the theater.

“There is everything there - abuse, perversion, sexual exploitation, abortion, oppression - including tingly dangerous eroticism like the one at Scientology headquarters. [...] The hardest part was memorizing - but you don't even have to write the text yourself - it already exists. Then you get the clothes and everything is always set up on the stage. And then someone always sits downstairs to make sure that everything works out. I despise that now. You always have to empty your brain, because otherwise thoughts flood around - that's not so popular - it confuses everything - and girls have to do it more than boys. "

Theater works (selection)

Art actions / exhibitions (selection)

  • 1988: Presence of Memory , (Director: Robert Hunger-Bühler )
  • 1989: The Riders of the Rainbows feat. Anne Tismer (numerous appearances with the country rock band at the Stadttheater Freiburg between 1989 and 1992 under the aegis of Jürgen Kruse)
  • 2004: immediately , Anne Tismer and Bianca Schönig in Berlin on the wall strip
  • 2006: Nöle Dingsbums , art action by John Bock in the Schauspielhaus Zurich
  • 2006: Medusa , art action by John Bock in the magazine of the Staatsoper Unter den Linden
  • 2007: Courasche , art action by Anne Tismer in the Haus der Kunst in Munich
  • 2007: Miriam , art project by Anne Tismer in Ballhaus Ost
  • 2008: Bongani , art action by Anne Tismer in Ballhaus Ost in coproduction with Fleetstreet Hamburg
  • 2008: Anne-ka's ikea wish concert , art action by Anne Tismer in Ballhaus Ost
  • 2008: La fiancée , art project by Anne Tismer in Togo, Goethe-Institut Lomé
  • 2008: the blue sea , art action and science fiction by Cristin König and Anne Tismer at Ballhaus Ost
  • 2008: TE falls on the world , art action by Anne Tismer in Mülheim Theater an der Ruhr
  • 2008: the bright night of nothing of fear , Anne Tismer in the collective at Ballhaus Ost
  • 2009: Negrèsse by Franz Xaver Kroetz , Festival de Liège and Theater National de la Communauté Wallonie Bruxelles
  • 2009: Boulle de Douleur , installation Anne et Jojo au Festival de Liège
  • 2009: Jeunesse blessée by Falk Richter , Festival de Liège and Theater National de la Communauté Wallonie Bruxelles
  • 2009: Judith Lomeeeeeiahhhh !!!!!!! , Anne Tismer in a collective with Togo artists at the Goethe-Institut Lomé and at the No Limits Festival in Berlin
  • 2009: Judith Aktion Anne Tismer (director: Sebastian Nübling), Salzburg Festival, State Theater Stuttgart
  • 2009: Fashion show "The lubricated articulated steering in the luggage gets tangled up in the white shirt", John Bock House of World Cultures (Berlin)
  • 2009: Alice Under Ground , stage version by Christian Weise and Anne Tismer based on Lewis Carroll and Soeren Voima
  • 2010: "Hitlerine" action, text: Anne Tismer (director: Alexis Bug ), Volksbühne Berlin
  • 2010: Exhibition: "Central Body Stop" Anne Tismer in the NAK
  • 2010: "8081" (Georg Diez, Christopher Roth), Kampnagel Hamburg, Goethe-Institut Johannesburg, HAU Berlin
  • 2010: My Secret Garden (director: Falk Richter), Festival Avignon
  • 2010: "roberta" (Anne Tismer), Festival no Limits
  • 2010: “woyzickine” (Anne Tismer, Alexis Bug), theater discounter
  • 2011: "Lomé en couleurs fluantes et comme marschmellow" - Lili Awouzouba, Nadege Wilson, Anne Tismer, Joel Ajavon, Marc Agbedjidji, Jeanfrederic Batasse, David Ganda, Senion Hodin, Keno Tismer, Basile Yawanke au Institut de Goethe Lomé, Institut de Goethe Bruxelles, Institut de Goethe Paris, Flutgraben Berlin, Festival no Limits
  • 2012: "Non Tutta" - Sophiensaele
  • 2012: "2081" - Art - Works Berlin

Art films (selection)

with Bianca Schönig various art films, like that

  • 2004: Gesundbrunnen

with John Bock

  • 2004: Meech fever
  • 2006: 81 / 2x11 with Schisslaveng
  • 2006: Woman in the hotel
  • 2007: Beyond

Movies

radio play

music

  • 1989 to 1992: numerous concerts as a singer in the country rock band “The Riders of the Rainbows feat. Anne Tismer "

Awards

  • 1994: Award from Prinz magazine for Richard II of Shakespeare in a production by Jürgen Kruse
  • 1996: Actor Award (7,000 DM) at the NRW Theatertreffen for Medea by Euripides in a production by Jürgen Kruse
  • 1998: Second best actress of the year ( Theater heute ) for "Susanne" in Figaro gets a divorce from Horváth directed by Luc Bondy and "Regine" in The fanatics of Musil , directed by Dieter Giesing
  • 1999: Die Schwärmer receives the Bavarian Theater Prize
  • 1999: The kiss of forgetting and Figaro is getting divorced and invited to the theater meeting
  • 1999: Second best actress of the year (Theater heute) for The Kiss of Forgetting by Botho Strauss in a production by Matthias Hartmann
  • 2003: 3sat Prize at the Berlin Theatertreffen (10,000 euros) for Nora von Ibsen (in equal shares with Susanne Wolff )
  • 2003: Actress of the year ( Theater heute ) for Nora von Ibsen in a production by Thomas Ostermeier
  • 2003: German Critics' Prize for Nora von Ibsen in a production by Thomas Ostermeier
  • 2009: Special jury prize at the “Prix de la critique Théâtre - Danse” in Belgium for “Bastian” in “Le 20 novembre” by Lars Noren in the production by Lars Noren, “Elle” in “Jeunesse blessée” by Falk Richter in the production by Falk Richter and "Negerin" by Franz Xaver Kroetz in the production by Franz Xaver Kroetz

literature

Web links

Individual evidence

  1. ↑ Dirk Pilz: The irresistible charm of departure . In: "NZZ Online" from February 24, 2006
  2. ↑ Anne Tismer in the Anne Tismer in the Munzinger archive ( beginning of article freely accessible)
  3. ↑ a b c Ulrike Kahle: Queen from the other star . In: Theater 2003, yearbook of the magazine “Theater heute ”, page 81
  4. ↑ a b Reinhard Wengierek: Breathless . In: Berliner Morgenpost , April 13, 2003
  5. ↑ a b c d Wolfgang Höbel: Lara Croft has finished . In: Der Spiegel . No. 6 , 2003 ( online ).
  6. ↑ Archive of the Münchner Kammerspiele  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / www.muenchner-kammerspiele.de  
  7. ↑ Schedule of the Theater Drachengasse
  8. ↑ a b c d e f Christine Richard: A girl woman runs amok . In: Der Tagesspiegel , May 14, 1999
  9. ↑ Ulrike Kahle: Queen from another planet . In: Theater 2003, yearbook of the magazine “Theater heute ”, pages 81 and 82
  10. ↑ Kunstmarkt.com on Jo Schultheis
  11. ↑ Wolfgang Höbel : The dandy must bear grief . In: Der Spiegel . No. 52 , 2003 ( online ).
  12. ↑ a b c Ulrike Kahle: Queen from the other star . In: Theater 2003, yearbook of the magazine “Theater heute ”, page 82
  13. ↑ a b c Ulrike Kahle: Queen from the other star . In: Theater 2003, yearbook of the magazine “Theater heute ”, page 76
  14. ↑ a b c Verena Mayer: Let me play ( Memento of the original from January 7th, 2009 in the Internet Archive ) 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. (PDF; 16 kB). In: Der Tagesspiegel , March 23, 2004 @1@ 2Template: Webachiv / IABot / www.textetage.com
  15. ↑ Ulrike Kahle: Queen from another planet . In: Theater 2003, yearbook of the magazine “Theater heute ”, pp. 76 and 78.
  16. ↑ Christian Gampert: Von lap and chain dogs  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. . In: "Friday 29" of July 25, 2005, p. 13.@1@ 2Template: Dead Link / www.freitag.de  
  17. ^ Mephisto: Without light, without noise, Henschel Verlag 2001, pp. 18 and 140.
  18. ↑ Handbook of Culture Awards 4, p. 465.
  19. ^ Theater 1998, yearbook of the magazine «Theater heute », page 140
  20. ^ Theater 1999, yearbook of the magazine "Theater heute ", page 147
  21. ↑ Benjamin Henrichs in the SZ of February 27, 1999 (quoted from the Lexikon Theater)
  22. ↑ a b c Ulrike Kahle: Queen from the other star . In: Theater 2003, yearbook of the magazine “Theater heute ”, page 83
  23. ↑ Gesundbrunnen . On “Youtube” (accessed October 3, 2009).
  24. ↑ Zeit Magazin No. 25, June 17, 2010, page 54
  25. ↑ No Limits Festival ( Memento of the original from November 24th, 2009 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.no-limits-festival.de
  26. ↑ Article in: Neues Deutschland
  27. ↑ http://www.klenkes.de/kultur/kunst/23416.anne-tismer-im-nak-haekelseelenverstoerung.html City magazine Aachen: Häkelseelenverstören
  28. ↑ a b http://www.8081.biz/#album/01.jpg
  29. ↑ http://www.festival-avignon.com/fr/Spectacle/39
  30. ↑ http://www.lalibre.be/culture/scenes/article/604947/le-geant-et-la-super-actrice.html
  31. ↑ http://www.lalibre.be/culture/scenes/article/596143/transformer-les-maux-en-mots.html
  32. ↑ Archive link ( Memento of the original dated November 4, 2010 in the Internet Archive ) 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.grenzenlos-kultur.de
  33. ↑ http://theaterdiscounter.de/?p=3804
  34. ↑ http://www.goethe.de/mmo/priv/8300148-STANDARD.pdf  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Dead Link / www.goethe.de  
  35. ↑ http://www.goethe.de/ins/fr/lyo/prj/the/new/fr8242481.htm
  36. ↑ Archive link ( Memento of the original dated November 24, 2009 in the Internet Archive ) 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.no-limits-festival.de
personal data
SURNAME Tismer, Anne
BRIEF DESCRIPTION German actress and performance artist
DATE OF BIRTH August 9, 1963
PLACE OF BIRTH Versailles