Einar Schleef

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Einar Wilhelm Heinrich Schleef (* 17th January 1944 in Sangerhausen ; † 21st July 2001 in Berlin ) was a German theater - director , writer , set designer , painter , photographer , graphic artist and actor . Since the 1970s, his theatrical work in particular has set standards and has been invited to the Berlin Theatertreffen several times . A characteristic of his productions was the use of the choir , which had hardly played a role in post-ancient theater. Especially in his early theater work, the speaking choirs were often misinterpreted as an ideological symbol. The accusation that Schleef's theater was militant or even fascistoid was raised by directors such as Peter Zadek as well as by a number of theater critics. In his essay volume Drug Faust Parsifal , Schleef developed his aesthetic views and described the revival of the choir as a profoundly substantive element that aims at the lost connection between the individual and society, which should be regained in the theater.

Schleef grew up in the GDR and moved to the Federal Republic of Germany in 1976 . In its subjective radicalism, his art is a “singular” testimony to his profound and aesthetically uncompromising examination of the post-war history of divided and reunified Germany.

Schleef autograph

Life and work

Childhood and youth

Einar Schleef was born on January 17, 1944, the second son of the architect Wilhelm Schleef and his wife Gertrud (née Hoffmann) in Sangerhausen . Sangerhausen is a provincial town on the southeastern edge of the Harz Mountains and at that time was heavily influenced by copper mining. In the parental home, his mother Gertrud (to whom he later dedicated his magnum opus of the same name) was the dominant figure. The father returned from World War II a sickly man . The parents' marriage was difficult and conflicted. In 1950 Schleef started school. From the age of nine he collected personal notes in notebooks, on slips of paper and in diaries, which he later revised again and again.

The workers' uprising on June 17, 1953 was a decisive experience for the young Schleef . There were also riots and arrests in Sangerhausen. Schleef's mother hid her husband from the access of the Soviet military administration . Schleef's brother, who was seven years older, disappeared for several days. In 1957 he fled the GDR .

Schleef's talent for drawing and painting was noticed early on in school. The painter Wilhelm Schmied encouraged him and became an important reference person for him. The father, on the other hand, followed the son's artistic attempts with mistrust: “In tracking down the good works in order to destroy them, he was accurate and successful. Much was torn, burned, trampled on by him, which mother laboriously glued back together [...], but she also defended my father's punitive actions, as she was constantly commuting between us ”.

Schleef stuttered from childhood . Only when he appeared on stage did he later manage to overcome his speech inhibition. At school he was seen as a loner. The role of the outsider was reinforced by two lengthy absences from school due to illness: in the seventh year of school he contracted tuberculosis . And at the age of sixteen, on February 13, 1960, Schleef suffered a serious accident when he fell from an unsecured railway door while the train was at full speed. He had to spend almost a year in the hospital. Schleef later cultivated the legend that his stuttering was a result of the accident. Because of the illnesses he had to repeat two years of school.

In August 1961 Schleef's parents prepared to flee to West Berlin. Schleef drove with his father to meet friends in Berlin-Siemensstadt , where the son was to be temporarily housed until the parents could follow. He resisted and wanted to stay in the GDR, where he wanted to study painting - encouraged by his sponsor Wilhelm Schmied. A few days later, on August 13, construction of the wall began . The parents blamed him for the failed escape.

1962 designed Schleefstraße the stage for the school play a scene from The mother of Bertolt Brecht . In 1963 he wrote his first poetry, which he himself describes as such: it is a prose text entitled Dream . In 1963 he successfully passed the entrance examination at the Berlin-Weißensee School of Art and received a place at university - even before his Abitur. In connection with the examination, he first visited the Berliner Ensemble and began to be interested in Brecht. In 1964 he passed the Abitur at the Geschwister-Scholl-Oberschule Sangerhausen with the grade 3.

Education

In the same year he began to study painting and set design at the Berlin-Weißensee School of Art. In 1964/65 he also worked as a comics scenarist and colorist for the magazine Mosaik . He was charged with "indiscipline and lack studentischem overall behavior" in early 1965 relegated . He had insulted a university professor.

He then worked, among other things, as a stage design assistant at the Berlin Maxim-Gorki-Theater and at the Berliner Ensemble. In the fall of 1967 he was re-admitted to study. In Heinrich Kilger's stage design class , he proved to be a very talented student, but a difficult fellow. He canceled stage design orders in the provinces and barely escaped a second relegation. In 1971 he obtained the diploma. Part of the diploma was a cycle of leaves on Carlo Goldoni's Il Campiello , which was shown at the 2nd Prague Quadrennial and was awarded the main prize.

In 1971 Schleef was accepted as a master student with Karl von Appen at the German Academy of the Arts in Berlin. Von Appen became his most important teacher.

In the DEFA film The Nackte Mann auf dem Sportplatz from 1973/1974, director: Konrad Wolf , scenario: Wolfgang Kohlhaase , photographer Angela, portrayed by Ursula Werner , presents a series of photos with portraits of old women by Einar Schleef, who in the opening credits is named as the author of a photo report.

First work for the theater

The Goldoni cycle had consequences: the new director of the Berliner Volksbühne , Benno Besson , became aware of Schleef and assigned him the equipment for Don Gil from Tirso de Molina's green pants . The debut caused a sensation, but did not result in a permanent engagement. After the death of Helene Weigel , Ruth Berghaus became the new director of the Berliner Ensemble . She engaged the director BK Tragelehn to the house. On the advice of the dramaturge Friedrich Dieckmann , Tragelehn brought in Schleef as a set designer. Between 1972 and 1975 three joint productions were created: Katzgraben - Scenes from the Peasant Life by Erwin Strittmatter (1972), Spring Awakening by Frank Wedekind (1974) and Miss Julie by August Strindberg (1975). In the course of this collaboration, Schleef increasingly became a co-director for Tragelehn. In Spring Awakening , essential elements of the theatrical aesthetic that later became typical for Schleef's productions were already evident: the empty stage space in which the individual actor seems to lose himself; strict black and white contrasts; working with amateur actors. Dirk Nawrocki and Johanna Schall , both teenagers at the time, played Melchior and Ilse, respectively.

Berlin - Theater am Schiffbauerdamm (Berliner Ensemble), 2006

The premiere of Miss Julie (with Jutta Hoffmann in the title role) in April 1975 caused a cultural-political scandal. Already during the rehearsal time the potential for conflict became apparent, and on the day of the premiere it was not clear in the morning whether the curtain would open for Miss Julie in the evening . Presumably due to personal intervention by the composer and husband of Ruth Berghaus, Paul Dessau , who as a “socialist from the very beginning” had an influence on the top of the party, the premiere could still take place. According to theater critic Christoph Müller, it was “the craziest thing that ever happened in the Berliner Ensemble.” In the “Central Organ of the SED ”, New Germany , a negative review by Rainer Kerndl appeared - which was a verdict from the highest circles Party against the staging was the same.

Federal Archives Image 183-1984-1219-041, Ruth Berghaus

The simmering conflict between the Brecht heirs and Ruth Berghaus over the content of the Berlin ensemble also weakened the position of the director. After only ten fully sold out performances, Miss Julie was removed from the program. The Macbeth project that Schleef and Tragelehn wanted to tackle after Miss Julie did not come off. Heiner Müller stated about the work of Schleef and Tragelehn: "That was the only time after Brecht in which the Berliner Ensemble was alive."

In December 1975 Schleef worked with the director Wolfgang Heinz on drafts for Wassili Schukschin's plays The Standpoint and Efficient People . Their artistic intentions, however, were too different; the collaboration ended in January 1976. In April 1976 Schleef staged his own version of Grimm's fairy tale The Fisherman and His Wife at the State Puppet Theater in Dresden . He let the puppeteers act as actors and involved the audience in the performance. This open form met with criticism from party officials and some teachers. Schleef was not ready for any discussion; the performance was canceled after the premiere.

In 1976 Schleef and Tragelehn received the offer to stage Frank Wedekind 's Wetterstein Castle at the Burgtheater in Vienna . Ruth Berghaus wanted Schleef to be the set designer for Georg Büchner's Dantons death , and the Leipzig Opera offered the opportunity to create the equipment for Werner Egk's Peer Gynt . On October 22nd, 1976 Schleef traveled to Vienna for preliminary work for Wetterstein Castle and decided - unlike Tragelehn - not to return to the GDR. The staging at the Burgtheater was no longer possible because Schleef was unable to agree on another play with the theater management. Wolf Biermann was expatriated from the GDR in November . In February 1977 Ruth Berghaus resigned from the management of the Berliner Ensemble. One of the reasons for her resignation was the conflict over Miss Julie .

First experiences in the west

Schleef initially lived with friends in Stuttgart, Vienna, Frankfurt and West Berlin. He did not immediately succeed in gaining a foothold in the theater again. His girlfriend Gabriele Gerecke was arrested while trying to escape from the GDR. She was only able to leave for the West in 1978. Schleef fell into a depression. In 1977 he noted in his diary: “There the wall around everyone. Here is the wall in everyone. ”In 1977 he was to stage Strindberg's Dance of Death at the Schauspielhaus Düsseldorf . The work failed. From 1978 to 1981 he studied directing at the German Film and Television Academy in Berlin . He worked for radio and also as an actor in the experimental film Zufall (director: Hans-Peter Böffgen, 1984). At the same time he wrote pieces and designed photo text volumes. From 1978 to 1984 he worked on the two-volume work Gertrud , the monumental novel about his mother, assembled from letters, internal monologues and diary entries. With this book and several stories set in the GDR, he also fought his obsessive homesickness. Gerhard Rohde wrote in 1986: "He turned his back on his homeland Thuringia and the GDR without leaving them."

Schleef's literary works were published by Suhrkamp . In 1982 he received third prize at the renowned Ingeborg Bachmann Competition for his story Wittenbergplatz .

Frankfurt time

In 1985 Günther Rühle took over the directorship of the Frankfurt theater and brought in Schleef as in-house director in addition to Michael Gruner and Dietrich Hilsdorf . “Schleef broke into the West German theater like a natural disaster [...]. The experience Schleef conveyed to the critics and large parts of the audience was an injury. The press shot back and quickly found the vocabulary that they thought Schleef could do with: "Nazi theater", "Wehrsportgruppe" and the like could be read. "

His first production in Frankfurt was Mothers after Aeschylus ' Seven Against Thebes and Euripides ' Die Schutzflehenden . Schleef further developed the canon of forms that was already characteristic of the Berlin productions: a largely empty stage, costumes aimed at the archetypal , extreme restriction of the props , rhythmic speaking and - which in the following years would become the decisive feature of Schleef's theater work - the juxtaposition of choir and individual . Schleef worked again with laypeople: the choir at Mothers consisted of around fifty women, some of them with a migration background . “He presented them as mourners, mourners, guardians of death [...], but then also as submissives, servants, cleaning women, warmongers [...]. He destroyed the myth of the mother so thoroughly to the present day, he divided her image into many facets. He intervened in our inner world of images, which 'the mothers' hold sacred. ”(Günther Rühle) Schleef removed the seating from the auditorium so that the audience sat on the bare steps. And he had a walkway built through the auditorium. The bourgeois peep box stage was dismantled and transformed into a highly communicative space - similar to the antique arena stage. Schleef worked in Mütter with two actors who would later be among his main protagonists: Martin Wuttke and Jürgen Holtz (whom he already knew from working on Fräulein Julie ). In rare unanimity, both the Frankfurter Allgemeine Zeitung (Gerhard Rohde) and the Frankfurter Rundschau ( Peter Iden ) panned the production. The term “Nazi theater” is used for the first time in relation to Schleef's work: “In any case, the vocabulary will be ready before the premiere and will be adopted nationwide”, Schleef writes. Intendant Günther Rühle was not deterred, however, and stuck to Schleef.

In April 1987, Gerhart Hauptmann's Before Sunrise premiered. Schleef transposed the naturalistic drama into its abstract canon of forms. The press echo was similarly negative, but in 1988 this work was invited to the Berlin Theatertreffen . Also in 1988 Schleef directed his own play The Actors at the Frankfurter Schauspiel . The performance began with the final scene from Hamlet ; after fifteen minutes there was a break, and then the production of the play The Actors began . (Schleef used this structure of the theater evening several times later - for example in the Düsseldorf Salome .) For the first time, the audience at the premiere of the actors reacted positively to a work by Schleef. “Applause from the Frankfurt parquet humanity. Some fearful boos. ”Writes the reviewer of the world .

Bockenheimer depot

Because of a fire in the Frankfurt Opera, the theater had to move to the Bockenheimer depot . The last three Frankfurt productions by Schleef were developed there. The large, empty room offered ideal conditions for his stage concepts. For Goethe's story Gottfriedens von Berlichingen, dramatized with an iron hand (“Ur-Götz”), he developed a footbridge that cut the length of the depot. The audience sat on either side. Schleef sometimes had the footbridge played simultaneously in several places and thus found an adequate implementation for the dramaturgy of the play. While Gerhard Stadelmaier gave his review the title “Night Exercise of the Wehrsportgruppe S.”, the majority of the audience agreed.

In 1990 Schleef (also in the Bockenheimer Depot) staged Lion Feuchtwanger's Nineteen Eighteen or Slave War . In addition to Martin Wuttke and Thomas Thieme , Joana Maria Gorvin was also part of the game ensemble. In his criticism in the Frankfurter Rundschau, Hans-Klaus Jungheinrich described that Schleef showed “the body as a meticulously structured mass ornament”. - an element that will later play a decisive role, especially in Schleef's world premiere of Elfriede Jelinek's sports play.

Schleef's last work in Frankfurt had its premiere in the Bockenheimer Depot on June 30, 1990: Goethe's Faust . He created a collage from both parts of the tragedy and cast all roles - with the exception of Mephistus - several times. There were eleven Faust actors and fourteen Gretchen actresses. Schleef also changed the assignment of texts to roles. The performances were completely sold out, but the audience's reactions were mixed. Gerhard Stadelmaier condemned the performance with a legendary review that was only 17 lines long. At the end of the 1989/1990 season, Günther Rühle's directorship ended - and with it Schleef's ties to the Frankfurt Theater.

1990 to 1996

In the six years that followed his time in Frankfurt, Schleef only staged two productions, although he had meanwhile made a name for himself and, for example, the playwright Heiner Müller stood up for him. Again, many projects did not materialize or were finished before the premiere - such as the work with the dance theater Reinhild Hoffmann on the Heine project Trümmer : Schleef's stage concept turned out to be unrealizable.

In 1992 the Akademie der Künste Berlin presented an exhibition entitled Flight from the Republic Armistice Homecoming . Drawings, paintings, photographs and the various stages of writing the Gertrud book were presented. In January 1993 a new management team took over the management of the Berliner Ensemble, including Heiner Müller and Peter Zadek . On January 26, 1993 Schleef read the story Heimkehr and other texts in the Berliner Ensemble while he was preparing the world premiere of Rolf Hochhuth's Wessis in Weimar . Hochhuth considered having the performance prohibited by a court of law before the premiere, as Schleef was very free with the piece and also incorporated other texts, for example from Schiller's robbers . Lawyers appeared at the rehearsals. The premiere was on the brink. Finally, a compromise was found, which Hochhuth accepted: a copy of his text was given to every visitor to the premiere. The tenor of the reviews, however, was that Schleef made theater out of Hochhuth's "paper garbage" (Wolfgang Höbel in the Süddeutsche Zeitung ) in the first place. The performance was a success and was invited to the Berlin Theatertreffen.

The directors Peter Zadek and Heiner Müller could not agree on Schleef's whereabouts in the Berliner Ensemble. Müller was in favor, Zadek against. Schleef had to leave the theater and signed a five-year contract with the Staatliche Schauspielbühnen Berlin , whose main venue was the Schiller Theater . On June 22, 1993, the Berlin Senate decided to close the Schiller Theater in order to relieve the budget. After the last official presentation of the season on July 4, Schleef showed the first excerpts from his Faust production, which he had rehearsed for six weeks, on the steps in front of the entrance to the theater . His mother Gertrud Schleef died on August 27th.

Berlin Schiller Theater

On the night of October 16-17, Schleef and his ensemble played excerpts from the Faust production in front of the Schiller Theater , which was to have its premiere on October 16. The performance lasted until 3 a.m. All attempts to show the production at other venues failed.

At the end of November 1993 there were initial discussions between the Nuremberg General Music Director Eberhard Kloke and Schleef about a production of Wagner's Parsifal . Schleef agreed, but wanted to change the dramaturgy of the work. In June 1994 the collaboration was ended. Again it was Schleef's unrealizable ideas about the set that made the work fail. Schleef's reflections on Parsifal were incorporated into his essay Drug Faust Parsifal .

In January 1995 Schleef's play Dead Trumpets was premiered at the Schwerin State Theater . For this he received the Mülheim Dramatist Prize . The trade journal Theater heute named the Trumpets of the Dead as the play of the year. In 1995 Heiner Müller brought Schleef back to the Berliner Ensemble (Zadek had since resigned from the directorate). Heiner Müller died on December 30th; Martin Wuttke became the new director. In February 1996 Bertolt Brecht's Herr Puntila and his servant Matti premiered. Schleef directed and played the lead role. The production was scheduled to resume in November 1996 - Schleef, however, did not appear. Five performances had to be canceled. The reason was probably quarrels about sample conditions for Schleef's next planned production. The Berliner Ensemble resigned Schleef without notice. A day later, director Martin Wuttke resigned.

1997 to 2001: Salome , A piece of sport , Betrayed people , Ecce homo

In June 1997 Schleef's adaptation of Salome after Oscar Wilde premiered at the Düsseldorfer Schauspielhaus . In doing so, he followed up on his experiences in the Frankfurt works: here, too, a walkway divided the auditorium, and here too there was an approximately ten-minute tableau vivant at the beginning of the performance , after which there was already a break. However, Schleef did not reproduce the figures. The choir was placed on the back wall of the auditorium and represented the voice of the Jews. What was new was that the actors were on the borderline between speaking and singing. In 1998 Salome was invited to the Berlin Theatertreffen - as was his production of Elfriede Jelinek's sports play , which he brought out in January 1998 at the Burgtheater Vienna .

Burgtheater Vienna 2020

This world premiere , for which he received the 3sat Innovation Prize and the Josef Kainz Medal of the City of Vienna in 1999 , undoubtedly marked the climax of his career as a director. Jelinek's text bundle, which is almost 150 pages long, reflects the subject of “sport” under various aspects: as a mass phenomenon, as a paramilitary training, as a sanctioned occurrence of violence, as a consumer factor and as a compulsory exercise in a society that fetishizes youthfulness and fitness . Elfriede Jelinek expressly wanted Schleef to be the director. He invented paradigmatic images for her text , in which he mainly played with the fascination of drilled masses. The game ensemble consisted of 142 actors. As in no other production, the elements of the Schleef Theater became the congenial aesthetic counterpart for the text and made Jelinek's word cataract a highly theatrical event. The most famous scene of the production was a kind of kickboxing exercise, which was drilled by young actors for 27 minutes at the highest energetic level.

The production was shown in a five-hour "short version" and in a seven-hour "long version". When the premiere on January 23, 1998 threatened to exceed the curfew for theater performances in Austria at 11 p.m., Schleef kneeled in front of Claus Peymann's manager's box shortly before 11 p.m. in order to be able to finish the performance. Peymann approved the extension on the condition that Schleef had to shorten the production for the next performance. Schleef himself appeared in the last scene of the play (Elfriede Jelinek took on this role in the following performances). The premiere ended shortly after half past ten - followed by 43 minutes of applause. Gerhard Jörder wrote in the reasoning of the Theatertreffen jury for the double invitation from Salome and Ein Sportstück : "These are the most bizarre, fantastic, strange, daring and annoying images that can currently be seen on our stages."

Claus Peymann made two more productions possible for Schleef in Vienna: 1999 Wilder Sommer based on Carlo Goldoni's trilogy of summer freshness in the Burgtheater and in 1999 the world premiere of Ulla Berkéwicz ' Der Golem in Bayreuth in the Akademietheater . Both performances could not build on the great success of the sports piece . In the summer of 1999 Schleef gave lectures at the Johann Wolfgang Goethe University in Frankfurt am Main as part of the Frankfurt Poetics Lectures on the subject of German monologues . In March 2000 he performed excerpts from Friedrich Nietzsche's Ecce homo in the Akademietheater . Schleef's harshest critic from Frankfurt times, Peter Iden, called the evening “an appearance [...] that has probably never been seen on a theater stage. [...] [E] unrivaled in madness, frightening and adorable in one, stunning and as a rhetorical masterpiece worth the highest admiration. "

From January 2000 Schleef rehearsed the staging of Betrayed People at the Deutsches Theater Berlin , in which he integrated parts of Ecce homo . It was actually agreed that he should stage Lothar Trolle's November scenes based on Alfred Döblin , but Schleef, who was dissatisfied with the play, created a collage with texts by Milton, Friedrich Nietzsche, Edwin Erich Dwinger and Alfred Döblin instead . Jutta Hoffmann received the Berliner Zeitung's Critics' Prize for her portrayal of Rosa Luxemburg . In June 2000 Schleef was appointed head of the course for stage design at the Berlin University of the Arts . Shortly afterwards, he announced that he could not answer the call.

At the beginning of the 2000/2001 season, Claus Peymann became director of the Berliner Ensemble and offered Schleef a production. In November the rehearsals for Elfriede Jelinek's power nothing began. A little trilogy of death .

In January 2001 Schleef suffered a heart attack. The premiere of Macht Jetzt , planned for January 27, has been canceled. Schleef had to undergo rehabilitation treatment. In May he handed over the materials for his diaries to Suhrkamp Verlag. The publisher initially rejected the publication. The diaries did not appear in a five-volume edition until 2006.

On July 21, 2001, Schleef died of heart disease in the Paulinen Hospital in Berlin. The hospital struggled to find family or friends and eventually turned to Schleef's lawyer. The news came to the public only eleven days after his death. Schleef was buried on August 15, 2001 in his hometown of Sangerhausen. The Frankfurter Allgemeine Zeitung, in which Schleef was once heavily criticized, wrote on the occasion of his death: “Schleef, a theater worker who was haunted by his own biography and the history of his divided country, died. […] Schleef, who was born in Sangerhausen in Thuringia and went to the West from the GDR in 1976, was a brilliant berserk of the directorial theater, but also an obsessed author ”.

The theater aesthetics of Einar Schleef

Pounding naked men in soldiers' coats, roaring choirs: the characterization of the Schleef Theater is often limited to such externals. Not infrequently the accusation is added that his theater plays with elements of the Nazi aesthetic. These descriptions completely miss the intentions of Einar Schleef. His artistic credo is described in the major essay Dr Faust Parsifal : Schleef considered the abolition of the ancient choir to be the fall into sin of the theater (see also Theater of Ancient Greece ): “The splitting of the ancient choir by Shakespeare , its individualization, is not A mere actor-friendly gain, but a significant loss of content that no protagonist can make up for. The overall context of the characters acting on the stage is destroyed. Each figure is thrown back to their own suffering, and freed from responsibility for one another. ”According to Schleef, the choir is politically discredited today - as an expression of left or right totalitarian sentiment. In fact, this theatrical element was considered outdated and ideologically loaded until the 1980s. When Schleef reintroduced the choir and made it the central figure in his theater, he was primarily concerned with regaining tragedy . According to his definition, tragedy does not arise from the tragic entanglement of individuals, but from the conflict between the individual and the collective represented by the choir.

Schleef described in Dr Faust Parsifal that the dissolution of the choir in theater history went hand in hand with the dissolution of the ancient arena and the invention of the peep-box stage, which works according to the laws of central perspective: only a single figure can appear in the vanishing point, not a group. That is why Schleef made attempts in almost all of his productions to dissolve the peep box and restore the communicative situation of the ancient arena: for example, through walkways into the auditorium. Or by placing the choir behind the audience on the stand and thus making the audience the “mediator” between the choir and the stage.

The origin of the theater from the rite was important for Schleef . In his productions he tried to reverse the splitting of the original synthesis of body, language, music and rhythm in post-ancient theater. The words often lost their semantic sense through screaming, stamping, stretching, etc .; they were turned into sound elements and thus robbed of their apparent self-evidentness. The speech act as such was made conspicuous in this way.

For Schleef, the actor's body was not only a representative of signs, but also became material itself. Here Schleef's theater touched the limit to performance . Impressive evidence of this was the kickboxing scene from Jelinek's sports play , in which the actors spent themselves repeating a certain sequence of words and movements until they were exhausted. Such violent scenic actions were at the same time an intended "attack on the spectator's sensorium". With Schleef, the theatrical events literally pushed themselves over the ramp and did not remain, as in Robert Wilson's theater, for example , distant and autonomous art worlds strictly delimited by the audience . A stylistic device frequently used in Schleef's theater was the frontal placement of the choir on the ramp, which also lost its function as a virtual boundary line between the stage and the audience. The physical impact of the screamed, stamped texts on the senses of the audience, the smell of sweat on the body, the visible exertion of the players up to the pain, were attacks on the audience's need to just watch what was happening. He countered the experience of passive consumption with confrontation. Schleef himself described the origin of these aesthetic means from rock concerts and mass sports events. More friendly forms of involvement of the audience were meals (for example in Wessis in Weimar ), but these had the same conceptual background: namely, to unite players and audience as participants in the same ritual event. It is the sense of the ancient theater that creates and maintains community, the “tua res agitur” (your case is negotiated here) that Schleef conjured up in his theater.

Since Einar Schleef saw direction, stage design and costume as an inseparable unit in all of his works (and was mostly responsible for them in personal union ), the visual effects of his productions are essential for understanding his theater. What is surprising is that Schleef's theatrical pictures are not congruent with his painting style: while his painting was based on classical expressionism , his stage work was very formal. Clear black and white contrasts, often complemented by the color red, were typical elements. He often cleared the stage up to the firewall and structured it with light alone. Bridges and cross shapes blurred the boundary between stage and auditorium. Any realism in props or costumes was avoided. This is how original theater images emerged that did not explicitly refer to a reality outside the theater. Schleef's aesthetic is non-mimetic . From the combination of actors, space, costume, light, rhythm and sound, he created his own, unmistakable theater idiom . «The principle of his work was: simplification and enlargement ... No detailism, no psychologism, but expression, power and lapidary clarity. All the props were strong signs, from the cleaning bucket to the axes to the meter-long flag. Their appearance on stage and their use on the stage often alienated and frightened. One had to penetrate his sign language with understanding. " (Günther Rühle on Schleef's aesthetics)

aftermath

Schleef's theater was a "singular" phenomenon and he himself was an artistic loner. It could not be assigned to a particular current of the zeitgeist, nor was it a “school” of imitators. The most striking effect of his work is probably that the use of the choir as a theater element has now become completely natural and is no longer suspected ideologically.

The director Armin Petras feels a special bond with Schleef's work. He staged several of his texts and, as the artistic director of the Maxim-Gorki-Theater Berlin, was responsible for the Schleef special festival in 2012 .

Immediately after Schleef's death there were a number of efforts to document his work and make it known to a wider public. So still appeared in 2001 in the publishing time theater that Einar Schleef workbook contains the extracts from his diaries and memories of his work partner. In 2002 the Nietzsche trilogy , which Schleef wanted to premiere at the Burgtheater Vienna, was staged by Thomas Bischoff at the Volksbühne Berlin. In the same year, an Einar-Schleef working group was founded in Sangerhausen. Also in 2002, the Kestnergesellschaft Hannover organized the first major retrospective of Einar Schleef's artistic legacy with the title Black Red Gold / Faith, Love, Hope . In November 2002, the Neuhardenberg Castle Foundation presented an exhibition entitled Einar Schleef. German scenes . In May 2003 the Einar Schleef Center was opened in the Sangerhausen Spengler Museum ; since October 2011 it has housed a new permanent exhibition.

In January 2004, on Schleef's 60th birthday, the Einar-Schleef-Arbeitskreis Sangerhausen, in cooperation with the Kulturstiftung des Bundes, organized a festival entitled Schleef Block 1 , at which, in addition to theater performances, city tours in Schleef's footsteps and exhibitions, a symposium was held Schleef's work took place.

Since 2004 Schleef's entire artistic legacy has been in the Moritzburg Art Museum in Halle (Saale) . From April to July 2008 the exhibition Einar Schleef. The painter shown with paintings and drawings. A catalog raisonné was published in 2009. The visual artistic legacy has been researchable online since 2019 (see web links).

On the occasion of Schleef's 75th birthday, HAU (Hebbel am Ufer, Berlin) organized a festival with readings, films and discussions on Schleef's work and its aftermath in January 2019 under the title Remembering is Work . From May to July 2019, the Moritzburg Art Museum showed the cabinet exhibition Untitled [Einar Schleef].

Quotes

  • "What is supposed to become art has to burn." Einar Schleef in conversation with Alexander Kluge, 1999.
  • In an obituary for Einar Schleef, the Austrian writer Elfriede Jelinek said: “There were only two geniuses in Germany after the war, Fassbinder in the west and Schleef in the east. They were both insatiable, but only so that they could give even more. In the end they gave themselves. "
  • “What was so special about Einar Schleef? That in his energy and his will all the arts came together. That of theater, that of literature, that of painting and graphics, that of music, that of choreography, that of costume design and photography. He mastered all of them, in theory he was as strong as in action. ”Günther Rühle

Works

Novels, short stories and letters

Diaries

  • Diary 1953–1963. Sangerhausen. Suhrkamp Verlag, Frankfurt am Main 2004, ISBN 3-518-41605-7 .
  • Diary 1964–1976. East Berlin. Suhrkamp Verlag, Frankfurt am Main 2006, ISBN 3-518-41758-4 .
  • Diary 1977–1980. Vienna, Frankfurt am Main, West Berlin. Suhrkamp Verlag, Frankfurt am Main 2007, ISBN 978-3-518-41759-1 .
  • Diary 1981–1998. Frankfurt am Main, West Berlin. Suhrkamp Verlag, Frankfurt am Main 2009, ISBN 978-3-518-42069-0 .
  • Diary 1999–2001. Berlin, Vienna. Suhrkamp Verlag, Frankfurt am Main 2009, ISBN 978-3-518-42070-6 .

Plays

  • Berlin a Sea of ​​Peace , 1973–1974, Suhrkamp Theater & Medien, world premiere on November 4, 1983 at the Zimmertheater Heidelberg, director: Sigrid Wiegenstein, set design: Anna Viebrock
  • The fisherman and his wife , henschel SCHAUSPIEL Theaterverlag, Berlin, world premiere on April 14, 1976, Staatliches Puppentheater Dresden, director: Einar Schleef
  • Die Party (after August Strindberg), 1977, In: Theater der Zeit. 1/2004, Berlin 2004, p. 62 ff., World premiere on February 4, 2005, Theater der Stadt Heidelberg , director: Davud Bouchehri
  • Lucretia Borgia , arrangement of the piece by Victor Hugo , German by Georg Büchner . In: Theater of Time. 1/2005, Berlin 2005, pp. 59 ff, world premiere on November 10, 1978, Tramdepot Tiefenbrunnen, Zurich, director: Einar Schleef
  • Wezel Suhrkamp Verlag, Frankfurt am Main 1983, ISBN 3-518-04501-6 , world premiere on October 7, 1995, Theater Nordhausen , director: Peter Staatsmann
  • The funniest country henschel SCHAUSPIEL Theaterverlag Berlin, world premiere on February 3, 1984, Landesbühne Wilhelmshaven , director: Georg Immelmann
  • Mütter (together with Hans-Ulrich Müller-Schwefe), Suhrkamp Theater & Medien, world premiere: February 23, 1986, Schauspiel Frankfurt, director: Einar Schleef
  • The actors Suhrkamp Verlag, Frankfurt am Main 1986, ISBN 3-518-03067-1 , world premiere on March 12, 1988, Schauspiel Frankfurt, director: Einar Schleef
  • Gertrud, a funeral monologue for female choir. In: Theater der Zeit, 10/2002, p. 55 ff, premiere: October 18, 2003, Düsseldorfer Schauspielhaus , director: Thomas Bischoff
  • Trumpets of the Dead 1–4 , pieces and materials. Suhrkamp Verlag, Frankfurt am Main 2002, ISBN 3-518-13430-2 , world premieres of parts 1 to 3 in 1995, 1997 and 2000 at the Mecklenburg State Theater Schwerin , director: Ernst M. Binder , part 4 at the Ruhrfestspiele Recklinghausen 2011, director: Ernst M. Binder
  • Salome (based on Oscar Wilde), Suhrkamp Theater & Medien, world premiere: June 21, 1997, Schauspielhaus Düsseldorf, director: Einar Schleef
  • Wilder Sommer Suhrkamp Theater & Medien, world premiere on January 2, 1999, Burgtheater Vienna, director: Einar Schleef
  • Nietzsche Trilogie Suhrkamp Verlag, Frankfurt am Main 2003, ISBN 3-518-13432-9 , world premiere on April 24, 2002, Volksbühne Berlin , director: Thomas Bischoff
  • Long night . Suhrkamp Theater & Media

Radio plays

  • Flight from the Republic ( Hessischer Rundfunk 1978)
  • The gang ( Austrian Broadcasting 1978)
  • Death of the teacher (Hessischer Rundfunk 1980)
  • Berlin encounters (Hessischer Rundfunk 1982)
  • The invitation (Österreichischer Rundfunk 1983)
  • Graduation ceremony (Hessischer Rundfunk 1983)
  • Berlin a Sea of ​​Peace ( Sender Free Berlin 1985)
  • Ordinary Evening ( Südwestrundfunk 1985)
  • Berlin A Sea of ​​Peace ( British Broadcasting Corporation , London 1987)
  • Wittenbergplatz (Sender Free Berlin 1987)
  • Unrest (Hessischer Rundfunk 1988)
  • Trumpets of the Dead (Mitteldeutscher Rundfunk 1995)

about Schleef

  • Homecoming - Einar Schleef in Sangerhausen by Gerhard Ahrens, 58 min. Production: MDR Figaro 2004
  • Either I'm crazy or the world according to texts by Einar Schleef by Mathias Baxmann. 73 min. Production: SWR , WDR was awarded the 2006 ARD Radio Play Prize

Readings

  • Gertrud - A festival of the dead , monologue for female choir, with Jutta Hoffmann , Hardenberg Castle Foundation / MDR Figaro 2003
  • Gertrud Schleef - Einar Schleef, Correspondence I , with Jutta Hoffmann and Thomas Thieme , (MDR Figaro 2009)
  • Gertrud Schleef - Einar Schleef, Briefwechsel II , with Jutta Hoffmann and Thomas Thieme, (MDR Figaro 2011)

Articles in magazines and other publications (selection)

  • Flavor substitutes and scrap. In: Yearbook 1995 Theater heute. Erhard Friedrich Verlag, Seelze 1995, ISBN 3-617-51992-X , pp. 102-111.

Painting, graphics and photography (selection)

Schleef's artistic legacy comprises more than 6,900 drawings and 157 paintings and is located in the Moritzburg Art Museum in Halle (Saale) . Parts of the work are presented in the collection presentation "Ways of Modernism". The entire visual artistic legacy has been recorded and researched online since 2019.

  • The Nibelungs . (1987–1988 shown in the exhibition Die Nibelungen in Munich's Haus der Kunst )
  • Lawsuit . ("Telephone booth pictures", 18 portrait format single pictures), (1978–1983)
  • Germany , 10 large format pictures (1986–1990)
  • Sangerhausen 1970/72 , photographs
  • Diary pictures

Illustrations (selection)

  • DH Lawrence : The man who loved the islands. With color illustrations by Einar Schleef. Suhrkamp Verlag, Frankfurt am Main 1990, ISBN 3-518-22044-6 .
  • Einar Schleef, Hans-Ulrich Müller-Schwefe: Snakes: The history of the city of Thebes. ISBN 3-518-03014-0 . (Contains reproductions of 60 color drawings by Schleef)
  • Thomas Brasch : Poetry album 89. Cover image and interior graphics by Einar Schleef. New Life Publishing House, Berlin 1975.
  • Alexander Baer: The last beach robber. Illustrations by Einar Schleef. Volk und Welt publishing house , Berlin 1975.
  • Karl Zuchardt : The moment of truth. Cover image of the dust jacket (together with Lothar Reber). Edition for Book Club 65, 1976
  • Erich Fried : Fight without angels. Poems. With an illustration by Schleef. Volk und Welt publishing house, Berlin 1976.
  • Ivan Drač : Ukrainian horses over Paris. Illustrations by Einar Schleef. Volk und Welt publishing house, Berlin 1976.

Exhibition catalogs

  • Einar Schleef: Flight from the Republic. Armistice. Homecoming . Edited by the sections / scientific departments performing arts and fine arts, Academy of Arts Berlin, Berlin 1992, ISBN 3-87024-221-3 .
  • Carsten Ahrens: Einar Schleef: Black Red Gold / Faith, Love, Hope . Material, text, photography, film, theater. Kestnergesellschaft , Hanover 2002
  • Carsten Ahrens, Hans Jürgen Syberberg : Einar Schleef: German scenes . With a cinematic homage à Schleef by Hans Jürgen Syberberg. Neuhardenberg Castle Foundation, Hanover 2002.
  • Harald Müller, Wolfgang Behrens: Einar Schleef: Contact sheets. Photography 1965–2001 . Verlag Theater der Zeit, Berlin 2006, ISBN 3-934344-58-5 .
  • Michael Freitag, Katja Schneider (Ed.): Einar Schleef. The painter. Moritzburg Halle Foundation. Published for the exhibition in the former Karstadt building in Halle, April 26 to July 20, 2008. Dumont Verlag, Cologne 2008, ISBN 978-3-8321-9089-7 .
  • Michael Freitag, Katja Schneider (ed.): Photo bequest: Einar Schleef. on the occasion of the exhibition Einar Schleef. I am another in me. Living places. October 23, 2011 to January 15, 2012, Moritzburg / Halle (Saale) Foundation. Moritzburg / Halle (Saale) Foundation, ISBN 978-3-86105-054-4 .
  • Marko Kloß, Einar-Schleef-Arbeitskreis Sangerhausen e. V. (Ed.): Einar Schleef. Theater posters. Documentation of the exhibition of the same name from October 5, 2011 to March 31, 2012. Leipzig 2012, ISBN 978-3-00-036169-2 .
  • Kathleen Krenzlin (Ed.): Einar Schleef. Kontainer Berlin. Verlag Theater der Zeit, Berlin 2014, ISBN 978-3-943881-68-4 .

Theater works

Staging of his works by other directors (selection)

  • Trumpets of the Dead , (world premiere), Mecklenburgisches Staatstheater Schwerin 1995, director: Ernst M. Binder , invited to the Mülheimer Theatertagen '95, the Potsdamer Theatertage and the Heidelberger Stückemarkt , nominated for the Berlin Theatertreffen 1995.
  • Three old people dance tango (world premiere), Mecklenburgisches Staatstheater Schwerin 1997, invited to the Mülheimer Theatertagen '97
  • Die Gange (premiere) based on the story of the same name, Schauspiel Leipzig 2001, director: Armin Petras , within the theater spectacle www.heimat.le
  • Gertrud. A festival of the dead , set up for the stage by Edith Clever and Dieter Sturm based on the novel of the same name . Berliner Ensemble 2002, directed by Edith Clever
  • Nietzsche trilogy , Volksbühne Berlin 2002, director: Thomas Bischoff
  • Cigarettes (premiere) based on the story of the same name by Schleef, arranged for the stage by Armin Petras, Nationaltheater Mannheim 2003, directed by Armin Petras
  • The memorial based on the story of the same name for the stage set up by Armin Petras, Hoyerswerda 2003, directed by Armin Petras
  • Gertrud. A festival of the dead (premiere), based on the novel Gertrud , arranged for the stage by Einar Schleef, Düsseldorfer Schauspielhaus 2003, directed by Thomas Bischoff
  • Gertrud based on the novel of the same name arranged for the stage by Judith Wilske, Kampnagelfabrik Hamburg 2003, director: Judith Wilske
  • Gertrud based on the novel of the same name, arranged for the stage by Jens Groß, schauspielfrankfurt 2007, director: Armin Petras, invited to the Berlin Theatertreffen in 2008.
  • The closing ceremony (premiere), based on a story by Einar Schleef, arranged for the stage by Armin Petras. Maxim Gorki Theater, Berlin 2009.
  • Have a good trip, goodbye. (World premiere), co-production of the Ruhrfestspiele Recklinghausen and dramagraz, director: Erst M. Binder, 2011.
  • Drug fist. (World premiere) based on Einar Schleef's drug Faust Parsifal and Johann Wolfgang von Goethes Faust , coproduction by Centraltheater Leipzig and Maxim Gorki Theater Berlin, directed by Armin Petras, 2011 and 2012

Prices

literature

  • Ulrike Krone-Balcke:  Schleef, Einar. In: New German Biography (NDB). Volume 23, Duncker & Humblot, Berlin 2007, ISBN 978-3-428-11204-3 , p. 34 f. ( Digitized version ).
  • Wolfgang Behrens: Einar Schleef. Work and person. Theater der Zeit, Berlin 2003, ISBN 3-934344-30-5 .
  • Wolfgang Behrens: In exile in your own language. In: Deutsch-Deutsches Literaturexil. Exile and emigration of writers from the GDR. Verlag web 2009, ISBN 978-3-935712-03-3 .
  • Miriam Dreysse Passos de Carvalho: Scene in front of the palace. The theatricalization of the choir in Einar Schleef's theater . Peter Lang Verlag, Frankfurt / Main 1999, ISBN 3-631-34617-4 .
  • Joachim Fiebach (ed.): Manifestos of European theater. Grotowski to Schleef. Verlag Theater der Zeit, Berlin 2003, ISBN 3-934344-17-8 .
  • Gabriele Gerecke, Harald Müller, Hans-Ulrich Müller-Schwefe (eds.): Einar Schleef-Arbeitsbuch. Berlin 2002, ISBN 3-934344-12-7 .
  • Halina Hackert: Write your own home. On the construction of home and foreign in Einar Schleef's Gertrud. Kulturverlag Kadmos, Berlin 2013, ISBN 978-3-86599-181-2 .
  • Klagenfurt texts . With the award winners Jürg Amann, Brigitta Arens and Einar Schleef. List Verlag, Munich 1982, ISBN 3-471-77964-7 .
  • Marko Kloß: Einar Schleef. The early productions (1972–1976) , materials, documents, photos. Leipzig 2007.
  • Marko Kloß: Einar Schleef. Theater posters . Documentation of the exhibition of the same name from October 5, 2011 to March 31, 2012 by Marko Kloß, Einar-Schleef-Arbeitskreis Sangerhausen e. V.
  • Alexander Kluge: Facts & Fakes , television bulletins. Volume 1: Crime. ISBN 3-930916-38-X , Volume 2/3: Heart's blood meets fake blood. ISBN 3-930916-42-8 , Volume 4: The Eiffel Tower, King Kong and the White Woman. ISBN 3-930916-55-X , Volume 5: The fire head speaks. ISBN 3-930916-59-2 . Edited by Christian Schulte and Reinald Gußmann, Vorwerk 8 publishing house, Berlin 2000 to 2003.
  • Kati Lyding: Einar Schleef and his theater of uniformed nudity. An investigation with special consideration of the productions 'Wessis in Weimar' and 'Ein Sportstück'. Hildesheim 2001.
  • Corinne Orlowski (ed.): In front of the palace. Conversations about Einar Schleef. Suhrkamp Verlag 2019, ISBN 978-3-518-42871-9
  • Benjamin Pauwels: Einar Schleef and Heiner Müller. With reference to the drug Faust Parsifal and an outlook on Schleef's staging of Ein Sportstück . GRIN Verlag, Munich 2003, ISBN 3-638-78251-4 .
  • David Roesner: Theater as Music: Method of musicalization in choral theater forms with Christoph Marthaler, Einar Schleef and Robert Wilson. (Forum modern theater, vol. 31). Narr-Verlag, Tübingen 2003, ISBN 3-8233-6020-5 .
  • Christina Schmidt: Tragedy as a stage form: Einar Schleefs Chor-Theater. Transcript, Bielefeld 2010, ISBN 978-3-8376-1413-8 .
  • Katja Schneider -Stief, Michael Freitag (Ed.): Einar Schleef. Photo inheritance. ISBN 978-3-86105-054-4 .
  • Hans Jürgen Syberberg : Dionysus from Germany, East. For Einar Schleef. In: Theater der Zeit 9/2001, p. 4ff
  • Jan Wielgohs:  Schleef, Einar . In: Who was who in the GDR? 5th edition. Volume 2. Ch. Links, Berlin 2010, ISBN 978-3-86153-561-4 .

Web links

Individual evidence

  1. ^ Doja Hacker and Urs Jenny : Theater is feudal. Playwright Heiner Müller on the Berliner Ensemble, GDR nostalgia and right-left confusion . In: Der Spiegel 12/1995, March 20, 1995, p. 225.
  2. ↑ a b c d e f g h i j k l m n o p q r s t Wolfgang Behrens: Einar Schleef. Work and person. Verlag Theater der Zeit, Berlin 2003, ISBN 3-934344-30-5 .
  3. ↑ a b c d e f g h i Einar Schleef: Drug Faust Parsifal. Suhrkamp Verlag, Frankfurt am Main 1997.
  4. ^ Hans-Thies Lehmann : Theater of the conflict. In: Gabriele Gerecke, Harald Müller, Hans-Ulrich Müller-Schwefe (Eds.): Einar Schleef. Workbook. Verlag Theater der Zeit, Berlin 2002, pp. 42–67, here p. 46.
  5. ↑ a b c Einar Schleef: Diary 1953–1963 . Edited by Winfried Menninghaus, Wolfgang Rath, Johannes Windrich and Einar Schleef. Suhrkamp Verlag, Frankfurt am Main 2004, ISBN 3-518-41605-7 .
  6. ↑ Linn Settimi: Plea for the tragic: choir and femininity figures in Einar Schleef . transcript Verlag, Bielefeld 2018, ISBN 978-3-8376-4630-6 , p. 18
  7. ↑ a b Birgit Lahann: I'll jump into your car, storm. Einar Schleef's funeral.
  8. ↑ Einar Schleef: Diary 1964–1976 . Edited by Winfried Menninghaus, Wolfgang Rath, Johannes Windrich and Einar Schleef. Suhrkamp Verlag, Frankfurt am Main 2006, ISBN 3-518-41758-4 , p. 220
  9. ↑ a b c Friedrich Dieckmann: My Schleef portfolio. Einar Schleef's years as a stage designer in Berlin. In: Gabriele Gericke, Harald Müller and Hans-Ulrich Müller-Schwefe (eds.): Einar Schleef. Workbook. Verlag Theater der Zeit, Berlin 2002, ISBN 3-934344-12-7 .
  10. ↑ Christoph Müller in Theater heute 5/1975. Friedrich Verlag, Velber 1975.
  11. ↑ Heiner Müller: War without a battle. Life in two dictatorships. Verlag Kiepenheuer and Witsch, Cologne 1992, p. 248.
  12. ↑ Wolfgang Behrens: In the exile of one's own language. In: Deutsch-Deutsches Literaturexil. Exile and emigration of writers from the GDR. Verlag web 2009, ISBN 978-3-935712-03-3 . P. 486.
  13. ↑ Andreas Rossmann : "... Why do I see the wheel change with impatience?" In: Erika Lieser-Triebnigg, Siegfried Mampel : (Ed.): Culture in divided Germany . Duncker & Humblot Verlag, Berlin 1984, ISBN 3-428-05701-5 , p. 132.
  14. ↑ Einar Schleef: Diary 1977–1980 . Vienna, Frankfurt am Main, West Berlin. Suhrkamp Verlag, Frankfurt am Main 2007, ISBN 978-3-518-41759-1 , p. 113.
  15. ^ Gerhard Rohde in the Frankfurter Allgemeine Zeitung , February 24, 1986.
  16. ↑ Einar Schleef: Diary 1981–1998. Frankfurt am Main, West Berlin. Edited by Winfried Menninghaus, Sandra Janßen, Johannes Windrich, Suhrkamp, ​​Frankfurt am Main 2009, ISBN 978-3-518-42069-0 , p. 240.
  17. ↑ Wolfgang Behrens: Faust's Trip. Nachtkritik.de , accessed on April 14, 2014.
  18. ↑ fair-hotels.de , accessed on April 14, 2014.
  19. ↑ Rainer Traub: The revenge of the dominatrix . In: Der Spiegel No. 47/2000, p. 282.
  20. ^ BE director Wuttke resigns. In: Berliner Zeitung. 5th December 1996.
  21. ↑ Aline Vennemann: “Hello, who is speaking?” Identity and self-portrayal in Elfriede Jelinek's “Ein Sportstück”. (PDF) wordpress.com; Retrieved April 14, 2014.
  22. ↑ a b c Urs Jenny: Nix Fit for Fun . In: Der Spiegel . No. 6 , 1998, pp. 157-158 ( online ).
  23. ^ Roland Koberg: Burgtheaterbezwingzwang. In: Berliner Zeitung. January 26, 1998.
  24. ↑ uni-frankfurt.de , accessed on April 15, 2014.
  25. ^ Peter Iden in the Frankfurter Rundschau. May 31, 2000.
  26. ↑ Roland Koberg: The brightening of the people . In: Berliner Zeitung , May 31, 2000
  27. ↑ "Berliner Zeitung" awards critic prizes 2000 . In: Berliner Zeitung , September 23, 2000
  28. ↑ logbuch-suhrkamp.de accessed on April 15, 2014.
  29. ↑ a b faz.net , accessed on April 15, 2014.
  30. ↑ Torsten Beyer: Einar Schleef - The rebirth of the choir as a criticism of the bourgeois tragedy. In: Thewis. 02/06.
  31. ^ Hans-Thies Lehmann: Theater of the conflict. In: Gabriele Gerecke, Harald Müller, Hans-Ulrich Müller-Schwefe (Eds.): Einar Schleef. Workbook. Verlag Theater der Zeit, Berlin 2002, pp. 42–67, here p. 43.
  32. ↑ Simon Aeberhard: "Well, something, meanwhile the pictures are already doing it together". Elfriede Jelinek's sports piece as a body | Image and media criticism. In: World - Image - Theater. Politics of Knowledge and Images. In: Forum Modernes Theater Volume 37, edited by Kati Röttger. Verlag Narr, Tübingen 2010, ISBN 978-3-8233-6606-5 , p. 293. Aeberlein speaks of the "actor body as the venue"
  33. ^ Hans-Thies Lehmann: Post-dramatic theater. Publishing house of the authors, Frankfurt am Main 1999, p. 166.
  34. ^ Hans-Thies Lehmann: Theater of the conflict. In: Gabriele Gerecke, Harald Müller, Hans-Ulrich Müller-Schwefe (Eds.): Einar Schleef. Workbook. Verlag Theater der Zeit, Berlin 2002, pp. 42–67, here p. 44.
  35. ↑ Michael Freitag, Katja Schneider (ed.): Einar Schleef. The painter. Moritzburg Halle Foundation. Published for the exhibition in the former Karstadt building in Halle, April 26 to July 20, 2008. Dumont Verlag, Cologne 2008, ISBN 978-3-8321-9089-7 .
  36. ↑ In front of the palace. Conversations about Einar Schleef . Edited by Corinne Orlowski. Suhrkamp Verlag Berlin 2019, ISBN 978-3-518-42871-9 , p. 63
  37. ^ Hans-Thies Lehmann: Theater of the conflict. In: Gabriele Gerecke, Harald Müller, Hans-Ulrich Müller-Schwefe (Eds.): Einar Schleef. Workbook. Verlag Theater der Zeit, Berlin 2002, pp. 42–67, here p. 46.
  38. ↑ Einar Schleef. The diaries . ( Memento of the original from March 3, 2014 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. gorki.de, undated @1@ 2Template: Webachiv / IABot / www.gorki.de
  39. ↑ spenglermuseum.de ( Memento of October 7, 2011 in the Internet Archive ), accessed on April 14, 2014.
  40. ↑ Dagmar Borrmann: Fleeing home, towards home. In: The world. April 21, 2004.
  41. ↑ berlinien.de
  42. ↑ Elfriede Jelinek: I would have done anything for him. In: format . August 6, 2001 (also in: Frankfurter Rundschau . August 7, 2001)
  43. ↑ Claus Peymann, Günther Rühle, Klaus Wowereit , Adrienne Goehler : The theater holds its breath . In: Berliner Zeitung , August 2, 2001
  44. ↑ Either I am mad or the world. ( Memento from November 20, 2006 in the Internet Archive ) In: ARD . November 12, 2006, with audio samples
  45. ↑ Einar Schleef - The Legacy of Images, on: stiftung-moritzburg.de, undated ( Memento of October 24, 2011 in the Internet Archive )
  46. ^ Märkischer Verlag Wilhelmshorst: title page poetry album 89
  47. ↑ Karin Cerny: Sound surfaces in a state of war . In: Berliner Zeitung ,
  48. ↑ leipzig-almanach.de, May 18, 2001
  49. ↑ Detlef Friedrich: The double mother. In: Berliner Zeitung. April 26, 2002.
  50. ↑ Simone Kaempf: One for all. In: taz. October 18, 2003.
  51. ↑ Ulrich Seidler: Self-image mortar. In: Berliner Zeitung. May 7, 2008.
  52. ↑ Ulrich Seidler: Longing for the Furor. In: Berliner Zeitung. April 2, 2011.
  53. ↑ Kai Agthe: Einar Schleef . In: The paper . Biennial for politics, art and business. No. 13/2009 , June 22, 2009 ( das-blaettchen.de [accessed on July 23, 2015]).
  54. ↑ Gertrud . In: Esslinger Zeitung . May 15, 1982.
personal data
SURNAME Schleef, Einar
ALTERNATIVE NAMES Schleef, Einar Wilhelm Heinrich (full name)
BRIEF DESCRIPTION German writer and director
DATE OF BIRTH January 17, 1944
PLACE OF BIRTH Sangerhausen
DATE OF DEATH July 21, 2001
Place of death Berlin