George Tabori

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George Tabori in Berlin-Mitte in front of the IHZ , 2003, photo: Oliver Mark

George Tabori , born as György Tábori , (born May 24, 1914 in Budapest , Austria-Hungary , † July 23, 2007 in Berlin , Germany ) was a British screenwriter, actor, speaker, writer, translator, playwright and theater director . He rejected the term “director” for himself as too authoritarian and instead referred to himself as “playmaker”. Most of his actors appreciated Tabori because of his pleasant way of working. In his plays he often countered the horror of racism and mass murder with black humor and absurd comedy. In the USA he worked as a screenwriter with Alfred Hitchcock and Bertolt Brecht , among others . In 1971 he returned to Central Europe. There he reached the height of his theatrical art from 1986 in Vienna ( Der Kreis , Burgtheater ) and since 1999 in Berlin with the Berliner Ensemble . Many theater fans valued the “longest-serving theater maker in the world” in his final years as the unofficial “theater king”.

Life

Adolescence

Tabori was born as the second son of the left-wing journalist, writer and hobby historian Cornelius Tábori (1879-1944) and his wife Elsa (1889-1963) in Budapest (Josephstraße 16). His father was a member of the “Galileo Circle”, which Georg Lukács also belonged to. Since his mother was the daughter of an Austrian spa doctor, Tabori grew up bilingual. Up to the age of seven, his parents raised him as a Catholic among Catholics and only then did they explain to him that he was descended from Jews. Since his father was of the opinion that there were more writers than readers in Hungary, his son George should pursue a solid form of income-making despite his recognizable talent. In October 1932, after graduating from high school , the father went to Berlin with his son. George Tabori began an apprenticeship in hotel management there for six months , first at the Hotel Adlon and then at the Hotel Hessler on Kantstrasse in Berlin-Charlottenburg . When a waiter complained about his Jewish colleague, it was not Tabori but the waiter who was fired by the manager. Nevertheless, because of his Jewish origins, he saw the need to leave Germany in 1933 . First he went back to Budapest and studied at the university, in 1935 he emigrated to London to live with his older brother Paul (1908–1974), where like his father he now worked as a journalist and translator. Between 1941 and 1943 he went to Sofia and Istanbul as a foreign correspondent , with trips to Palestine and Egypt. Tabori later counted this period in his life to be one of his happiest.

Second World War

Tabori received British citizenship in 1941 during World War II . From then until 1943 he worked as a war correspondent and also as an officer in the intelligence service of the British Army in the Middle East. To do this, he had to fake suicide with a suicide note in Istanbul and took the cover name First Lieutenant George Turner . Although he asked his parents to leave Istanbul by telephone, he was unable to persuade them to emigrate. His father died in Auschwitz in 1944 , his mother Elsa escaped deportation to Auschwitz by an unlikely stroke of luck. This is what his later film " Mutters Courage " is about . His brother Paul was also able to escape persecution: he became a writer and headed the department for writers in exile in the British PEN Club; In 1974 he died of a heart attack in London - Kensington . In 1943 George Tabori returned to London and stayed there until 1947, when he was able to work as a translator and journalist for the BBC . During this time he wrote his first novel “Beneath the stone” (1943), other novels followed.

America

A literary agent from MGM was able to hire him as a screenwriter in London after initial hesitation. In 1947 he traveled to the USA with the initial intention of only staying for three months. But it turned out to be over twenty years. At first Tabori lived and worked in Hollywood as a screenwriter and above all made contact with German exiles such as Bertolt Brecht , Thomas Mann , Lion Feuchtwanger and others.

At a theater rehearsal in New York in 1947, where Charles Laughton had rehearsed Brecht's life of Galileo again after the premiere in Los Angeles , he spontaneously offered to the desperate Laughton, who was unable to speak German, to translate the play into English. He changed only four passages in the text and from then on stopped writing novels in order to make theater in its place. This initially indirect encounter with Brecht brought Tabori to the theater. It became a theater life in which the Brechtian understanding of theater was to have a decisive influence on Tabori.

From 1948 until his departure from Hollywood in 1950, he lived in Santa Monica in the domicile of Salka Viertel , which rented rooms to European exiles. The elite of European intelligentsia such as Charles Laughton, Aldous Huxley , Christopher Isherwood , Arnold Schönberg , Theodor W. Adorno , Heinrich Mann and the families of Bertolt Brecht and Thomas Mann lived and met there for a time . In addition to them, Tabori also met Charlie Chaplin's family and Greta Garbo , who became his lover. Later he said about this time: "Imagine that you live in a house and every Sunday Büchner , Kafka , Flaubert , Mahler and so on come to visit ..."

In addition to his theater work, he also wrote screenplays for Alfred Hitchcock , Joseph Losey and Anatole Litvak . Working with Hitchcock was torture for him because of his great accuracy, despite the pleasant circumstances. "Hitch" never forgave him that he went his way after that. Tabori, too, made himself suspicious of “un-American activities” and was put on the “ black list ” in 1952 during the McCarthy era . He owed that to his friend Elia Kazan, to which they stopped talking for five years. Like many other intellectuals, he was drawn to cosmopolitan New York because of McCarthyism, where he and Viveca Lindfors and their three children John, Kristoffer and Lena moved into a four-story house on the Upper East Side . Through his wife he met Lee Strasberg , among others , and later worked in his Actors Studio . He also translated works by Bertolt Brecht and Max Frisch . In New York, Kazan and Tabori met again by chance and grew closer to each other, but they should no longer work together. Tabori confessed that he had learned a lot from Kazan, especially his friendly attitude towards the actors. In 1955 he himself directed the theater for the first time, with Miss Julie von August Strindberg starring with his second wife Viveca Lindfors. “Most of the things that can be seen there come from the actors. I only reacted to their ideas. ”Since then, Tabori has made it his own practice for his theater rehearsals to always emphasize only the positive aspects of the actors' portrayals.

In 1966 he founded the independent theater group The Strolling Players with his wife Viveca and made several tours with them. In the group, he continued the psychological methods used in the Actors Studio and also did gestalt therapeutic body work . Later, in 1982 in Bremen, in the play "Sigmunds Freude" he will make the protocols of a seminar by the founder of Gestalt therapy , Fritz Perls , the subject of a production.

An FBI file had been kept on Tabori since the late 1940s , which was only released for inspection in 2014 with blackened sections. The US domestic intelligence agency, the FBI , not only limited itself to its surveillance, but also carried out several searches and interviews in the Taboris' home. In addition to his contacts with left-wing exiles, his commitment to the peace movement and the black and student civil rights movement , Tabori's work for the Actors Studio was a stumbling block for the FBI .

Europe

1968 Tabori was first used in the German Democratic Republic to visit as it becomes a one-week colloquium "Brecht Dialogue" in occasion of Brecht's 70th birthday East Berlin by Helene Weigel had been invited. There he met the actor Manfred Karge , among others , and their close friendship lasted until Tabori's death. A year later, the German stage publisher Maria Sommer invited him to direct his Auschwitz play "The Cannibals" at the workshop of the West Berlin Schiller Theater. Friends in New York warned him not to return, and he, too, had great fears. As a precaution, he had a getaway car placed in front of the theater for the premiere in order to escape possible attacks in the event of a theater scandal. His play, with Michael Degen in the lead role and with his son-in-law Martin Fried from the Actors Studio as co-director, made a big impression: "A timid boo during the break, thunderous applause at the end," as one critic reported.

George Tabori (around 1985)

Finally, in 1971 he moved to Germany entirely on the basis of a DAAD scholarship that Maria Sommer had arranged for him. At the same time, it was also the separation from his marriage, which was felt as a liberation. Sommer now became his agent and negotiated an engagement for him in Bremen. At the beginning of 1972 he temporarily headed the Tübingen room theater . In 1975 he founded the “Bremen Theaterlabor” and managed it until 1978. For the dramatization of Franz Kafka's story Ein Hungerkünstler , the ensemble also experimented with a 40-day fast under the supervision of a doctor. However, since the Bremen Senator for Culture Horst Werner Franke no longer wanted to see “puking” and the performers saw themselves deprived of their artistic freedom, the contracts of almost all employees were no longer extended, including Andrea Breth and the choreographer Johann Kresnik .

He then moved to Munich, where he and his troupe at the Kammerspiele presented, among other things, productions of Beckett's Waiting for Godot and Euripides' Medea (under the title "M") relevant to theater history.

He staged his first opera in 1986 at the Vienna Chamber Opera ( Der Bajazzo von Leoncavallo ). From 1987 to 1990 he headed the theater Der Kreis in Vienna (Porzellangasse) , which largely corresponded to his maxim of working “in catacombs rather than cathedrals”. However, the model soon failed due to a lack of organization. Tabori then moved to the Burgtheater directed by Claus Peymann , where he experienced the real high point of his career. A world premiere took place here almost every year. His staging of Shakespeare's Othello with the famous cast of Gert Voss (Othello) and Ignaz Kirchner (Iago) set new standards. No less famous were Tabori's own pieces Mein Kampf , his greatest success, Goldberg Variations , Requiem for a Spy , Weisman and Red Face or Ballad vom Wiener Schnitzel , which satirically deal with Tabori's Jewish origins and triumphantly directed by the author at the Akademietheater came out, the little house of the Burgtheater. In 1997 he staged Elfriede Jelinek's Stecken, Stab und Stangl at the Burgtheater, and especially for the occasion, Jelinek lifted her ban on performing her pieces on Austrian theaters.

He has been working at the Berliner Ensemble since 1999 because Peymann's successor Klaus Bachler made him an offer too late. Tabori often regretted his departure from Vienna, which he missed because of the love of the audience and the proximity to Hungary. In October 2006 he was awarded the "Great Golden Decoration with Star" by Federal President Heinz Fischer in Austria .

George Tabori's grave

After his death on July 23, 2007, he was buried in an urn on August 21 in the Dorotheenstädtischer Friedhof in Berlin in the presence of a. a. buried the artistic directors of the Vienna Burgtheater and the Berlin ensemble. In a funeral service without speeches, as Tabori had requested, the Berliner Ensemble and Tabori's companion said goodbye to their doyen on August 27, 2007. In the middle of the stage was his armchair with his utensils, walking stick, scarf and hat, around it a semicircle of two dozen friends who read texts by Tabori in his memory. Three years after his death, in 2010, a memorial plaque was placed on the wall of his last apartment, Schiffbauerdamm 6-7 (see photo), at the house where he was born in Budapest (VIII. Kerület [8th district], Krúdy Gyula utca 16-18 [Krúdy-Straße 16-18]) and attached to the Schauspielhaus Wien . They are the work of the Berlin-based Hungarian sculptor and painter Mátyás Varga, a son of Imre Varga .

In 2019 the George-Tabori-Weg in Vienna- Floridsdorf (21st district) was named after him.

family

Tabori was married four times, "which is not very much for my age." In Jerusalem, he married the emigrant Hannah Freund from Darmstadt in 1942, and in 1951 the couple separated. In the meantime he had a love affair with Greta Garbo . His second marriage was with the Swedish actress Viveca Lindfors from 1954 to 1972. According to Taboris, the separation took place because of his theater work in Berlin. Lindfors and the three stepchildren John, Kristoffer and Lena stayed in New York.

In 1976 George Tabori and Ursula Grützmacher married. At that time he had been living and working in Bremen for a year. In 1978 he moved to Munich. In 1984 the couple separated.

On January 12, 1985, George Tabori and the actress Ursula Höpfner married in the old Bierbichler inn on Lake Starnberg , best man was Hans Magnus Enzensberger . Tabori said he loved her most of all the people in his life.

Quotes

“What I always have to tell, always have to say: that I have no home, that I am a stranger, and I don't mean that pathetically, but as a good thing. Because a writer, to my liking, has to be a stranger. "

- George Tabori : Deutschlandfunk , October 23, 2002

“For me, Brecht is still the greatest German writer and theater maker in Germany - better than Schiller, better than Goethe. There's something subversive about him, but that's just my opinion. [...] What I learned from Brecht - although he never put it that way - that the theater is never about perfection, because theater should be and is like life: not perfect. "

- George Tabori

“200 years ago there were no directors, the 'director' was invented by a German. I also don't like the word 'director'. It reminds me of 'regime'. And that has nothing to do with theater.
They prefer the word 'playmaker'. - Yes."

- George Tabori : 1999

“When he directed it was like an excursion, not an advance. He didn't give orders, he listened. He had no ideas, he had leisure and patience. You might say he left his actors alone, but he did so in such a way that their worst, and most dangerous, and most painful feeling of being unprotected became a feeling of great freedom. Through goodness, interest and the most refined modesty, Tabori removed everything from the samples that makes the world unfriendly: ambition, the urge for perfection, indisputability, better knowledge, strain, effort, volume, brilliance, indolence, top-heaviness, excessiveness, one-sidedness, fundamentalism, the will to achieve results. "

- Hans-Dieter Schütt : 2007

“All of his biographical veins flow together: Hungarian nonchalance, Anglo-Saxon humor, American light-footedness, Jewish chutzpah and Central European profundity. [...] And he combined the rare unity of playwright, director, theater director and, occasionally, actor. A descendant of Molière . "

- Neue Zürcher Zeitung , 2007

“Tabori is 'a person who everyone wants to dock with somewhere.' [...] One you want to belong to as soon as you see him. "

- Elfriede Jelinek

"Casual, elegant, ironic, smoking, educated, clever - and admirers of women."

- Senta Berger : about Tabori in memory of the Viennese who she saw earlier.

"The shortest German joke is Auschwitz."

- George Tabori

Further quotes from the ZDF culture magazine aspekte .

Important works (plays)

George Tabori has written almost 30 plays, many of which deal with death in a garishly brutal, comical way and confront reality with an absurd surrealism.

  • The Niggerlovers (Diptych, 1967)
  • The Cannibals (1968, WP: Theater at St. Clement's Church ; German The Cannibals , 1969, workshop of the Schiller Theater , about starving prisoners in Auschwitz )
  • Pinkville (1971; American name of My Lai )
  • Sigmund's Joy (1975)
  • Talk Show (1976)
  • Evening Show (1979)
  • Mother's Courage (1979)
  • Anniversary (1983)
  • Peepshow - A Review (1984)
  • Born Guilty (1987)
  • My Struggle (1987)
  • Weisman and Red Face (1990)
  • The Babylon Blues (1991)
  • Goldberg Variations (1991)
  • Requiem for a Spy (1993)
  • The 25th Hour (1994)
  • The mass murderess and her friends (1995)
  • The Ballad of Wiener Schnitzel (1996)
  • Last night in September (1997)
  • The Brecht Act (1999)
  • Early death (2001)
  • The Earthquake Concerto (2002)
  • Blessed Meal (2007)

Important productions of own works

All plays (with the exception of “Cannibals” and “Pinkville”) were translated by Ursula Grützmacher-Tabori.

  • The cannibals (European premiere: December 13, 1969, Werkstatt des Schiller-Theater, Berlin; directors: George Tabori and Martin Fried; translation: Peter Sandberg)
  • Mutters Courage (World premiere: May 17, 1979, Kammerspiele Munich; Translation: U. Grützmacher-Tabori)
  • The Voyeur (World premiere: May 15, 1982, Spiegelzelt, Berliner Festwochen)
  • Jubilee (premiere: January 31, 1983, Schauspielhaus, Bochum)
  • My fight. Farce (world premiere: May 6, 1987, Akademietheater in Vienna )
  • Born guilty (based on interviews with Peter Sichrovsky ; first performance September 19, 1987, Theater Der Kreis, Vienna)
  • Masada (based on “The Jewish War” by Flavius ​​Josephus ; world premiere: October 25, 1988, Steirischer Herbst , Graz; from November 7, 1988 in the Theater Der Kreis, Vienna; arrangement by George Tabori and Ursula Voss)
  • Weisman and Red Face. A Jewish Western (World premiere: March 23, 1990, Akademietheater Vienna)
  • Goldberg Variations (World premiere: June 22, 1991, Akademietheater, Vienna)
  • Nathan's death (world premiere: November 14, 1991, Wolfenbüttel)
  • Requiem for a Spy (World premiere: June 17, 1993, Akademietheater Wien; translation)
  • The mass murderer and her friends (world premiere: June 11, 1995, Akademietheater Vienna)
  • The Ballad vom Wiener Schnitzel (World premiere: March 29, 1996, Akademietheater Vienna)
  • The Earthquake Concerto (World premiere: 2002, Berliner Ensemble)
  • Blessed meal (premiere: May 10, 2007, Ruhrfestspiele Recklinghausen; premiere at the Berliner Ensemble on May 15, 2007)

Publications

“But all of my lyrics tell of an encounter between two men. I only realize that now. It has something to do with my life. "

  • 1945: Beneath the stone (the scorpion). Novel. Houghton Mifflin, Boston et al. a., 225 pp.
republished under: The victim. Novel. Ed. And with an afterword by Wend Kässens . Translated from the English by U. Grützmacher-Tabori ( Beneath the stone the scorpion ). Steidl , Göttingen 2004, 284 S, ISBN 3-88243-988-2 .
  • 1959: The journey. Novel. (The journey). Translated by Inge Marten. Zettner, Würzburg, Vienna, 178 pp., 8 plates.
  • 1981: Unterammergau or The Good Germans.
  • 1986: My struggles. Hanser, Munich, 160 pp., ISBN 978-3-446-14393-7 .
  • 2002: Autodafé. Memories. From the American by U. Grützmacher-Tabori. Wagenbach , Berlin, 95 pages, ISBN 3-8031-3174-X .
- Review , Deutschlandfunk, October 23, 2002, FR and Zeit .
- Autodafé. The author tells from his life. Wagenbach, Berlin, audio CD, approx. 70 min., ISBN 3-8031-4073-0 .
  • 2003: Son of a bitch. Novel by a city neurotic . From the American English by U. Grützmacher-Tabori. Berlin, Wagenbach, 91 pages, ISBN 3-8031-2482-4 .
  • 2003: I don't understand anything German. A manuscript. For the 89th birthday of George Tabori on the occasion of the celebratory event on May 18, 2003 at the Berlin Academy of the Arts . Edited by Andrea Welker. Verlag Bibliothek der Provinz, Edition München, Weitra, 26 pages, hardcover, ISBN 3-901862-10-2 .
  • 2004: a good murder. Novel. Translated from the English by U. Grützmacher-Tabori. Steidl, Göttingen, 216 pp., ISBN 3-86521-114-3 .
  • 2004: Companions on the left hand. Novel . Translated from the English by U. Grützmacher-Tabori. Ed. And with an afterword by Wend Kässens . Steidl, Göttingen, 331 S, ISBN 3-88243-992-0 .
  • 2004: Death in Port Aarif. Novel . Ed. And with afterword by Wend Kässens. Translated from English by U. Grützmacher-Tabori. Steidl, Göttingen, 341 pages, ISBN 3-88243-990-4 .
  • 2004: The playmaker. Conversations with George Tabori. Edited and with a foreword by Wend Kässens. Wagenbach, Berlin, 158 pp., Ill., ISBN 3-8031-3613-X .
  • 2004: Exodos. Continued memories. Wagenbach, Berlin, 96 pp.
  • 2007: Bed & Stage. About the theater and life. Published by Maria Sommer . Wagenbach, Berlin, hardback, ISBN 978-3-8031-3623-7 .
  • 2009: Companions on the left hand. Steidl, Göttingen, 336 pages, ISBN 978-3-86521-892-6 .
  • 2010: My struggles. Translated by U. Grützmacher-Tabori. Wagenbach, Berlin, 160 pages, ISBN 978-3-8031-2449-4 .
  • 2014: Autodafé and Exodus. Translated by U. Grützmacher-Tabori. Wagenbach, Berlin, 154 pages, ISBN 9783803132574 .

literature

Movies

script

Literary template

actor

Documentation

Radio plays

  • 1978: The 25th Hour - also directed ( RIAS Berlin)
  • 1980: Donald Barthelme : The Conservatory - Director: George Tabori (radio play - HR , NDR , SDR )
  • 1983: Sigmunds Freude - also directed with Jörg Jannings (radio play - RIAS Berlin, WDR )
  • 1983: anniversary ; Director: Jörg Jannings, Production: (RIAS Berlin, RB )
  • 1986: with Jörg Jannings: First night last night (also speaker) Director: Jörg Jannings (RIAS Berlin, NDR)
  • 1990: Masada - A report - also directed (RIAS Berlin)
  • 1990: Gabriel Josipovici : Obituary for LS (LS male) - Director: Robert Matejka (radio play - RIAS Berlin)
  • 1991: How to be happy without exhausting yourself (also narrator) - Director: Jörg Jannings (radio play - RIAS Berlin, SWF )

Awards (excerpt)

George Taborii plaque Bp08 Krúdy16-18.jpg
Plaque on Tabori's birthplace in Budapest, District VIII, 16-18 Krúdy Street, by Mátyás Varga
Memorial plaque Schiffbauerdamm 6 7 (center) George Tabori.jpg
Memorial plaque from Mátyás Varga in Berlin, on Schiffbauerdamm 6/7

Tabori price

The Performing Arts Fund donated in 2010 to Tabori Price [ sic! ] , which has since been awarded annually in three categories to nationwide “outstanding ensembles of independent professional theater and dance professionals”. The main prize is endowed with 20,000 euros, the sponsorship award with 10,000 euros and a residence in the Baltic Sea resort of Kühlungsborn worth a further 10,000 euros. The prize is awarded annually as part of a festive event in memory of the artistic achievements of George Tabori.  

Web links

Commons : George Tabori  - Collection of Images

items

Interviews
Videos

Individual evidence

  1. ↑ a b c d Thomas Trenkler: George Tabori on his only theater scandal, life-saving coincidences and being a stranger. “I'm preparing for death.” ( Memento from August 13, 2003 in the Internet Archive ) In: musikundtheater.ch , 1999, interview.
  2. ^ Armgard Seegers: Between Hollywood and the Holocaust. ( Memento from October 19, 2015 in the Internet Archive ). In: Hamburger Abendblatt , July 25, 2007.
  3. ↑ Andrea Welker: Chronicle of life and work. In: George Tabori. Don't make a fuss! In: du. Die Zeitschrift der Kultur , Issue 719, September 2001, Tamedia AG, Zurich, online: p. 40.
  4. ↑ a b c Alfred Schlienger: Laughter as a test of pain. In: NZZ , July 25, 2007.
  5. ↑ Andrea Welker: Chronicle of life and work. In: George Tabori. Don't make a fuss! In: du. Die Zeitschrift der Kultur , issue 719, September 2001, Tamedia AG, Zurich, online: p. 41.
  6. ↑ Johanna Adorján : "I felt sorry for Hitler." ( Memento of March 11, 2007 in the Internet Archive ) In: Tagesspiegel , December 24, 1999, interview.
  7. ↑ Andrea Welker: Chronicle of life and work. In: George Tabori. Don't make a fuss! In: du. Die Zeitschrift der Kultur , issue 719, September 2001, Tamedia AG, Zurich, online: p. 54.
  8. ↑ Ronald Pohl: God's benevolent representative on earth. In: Der Standard , July 25, 2007.
  9. ↑ a b Armgard Seegers: A life in transit. ( Memento from May 18, 2015 in the Internet Archive ). In: Hamburger Abendblatt , May 24, 2004, page 9.
  10. ↑ a b George Tabori: The flight to Egypt. In: Die Zeit , October 2, 2003, No. 41.
  11. ↑ a b In the documentary: The playmaker - George Tabori in America . In: 3sat , May 24, 2014.
  12. ↑ Günther Grack: The wise player. In: Tagesspiegel , May 19, 1998.
  13. ^ Werner Hecht (ed.): Brecht-Dialog 1968: Politics on the theater. Documentation. February 9 to 16, 1968. Henschelverlag, Berlin 1968, 338 p., DNB 457827637 ; Rogner and Bernhard, Munich 1969, DNB 457827645 ; limited preview in Google Book search.
  14. ↑ a b Iris Radisch : "I was always tired". ( Memento from December 6, 2016 in the Internet Archive ) In: Die Zeit , May 19, 2004, No. 22, interview.
  15. ↑ “Calm, but never indifferent.” Voices on the death of George Tabori. In: Tagesspiegel , July 24, 2007.
      Peter von Becker : George Tabori. The great playmaker. In: Tagesspiegel , July 24, 2007.
  16. ↑ Bernd Mahl: Good old future: 50 years of the room theater in Tübingen . A chronicle 1958–2008 . Published by the cultural office of the university town of Tübingen, 2008, ISBN 978-3-910090-91-0 , p. 8.
  17. ↑ Andrea Welker: Chronicle of life and work. In: George Tabori. Don't make a fuss! In: du. Die Zeitschrift der Kultur , issue 719, September 2001, Tamedia AG, Zurich, online: p. 77.
  18. ↑ “I really enjoy being in Vienna. Claus Peymann asked me in 1999 if I was going to Berlin with him and I said: “Why not?” The next day, Klaus Bachler met me in the pedestrian zone on Gentzgasse. I had to tell him that I had already agreed to Peymann - and I regretted it from the bottom of my heart. Vienna is close to me. ”In: Wisdom and Magic in 'Schottis' Kitchen. In: Der Standard , July 24, 2007, Tabori's last interview on October 16, 2006.
  19. ↑ George Tabori buried in Berlin. In: Tagesspiegel , August 22, 2007.
  20. ↑ Hans-Dieter Schütt : Being without addiction to being. In BE: A farewell to George Tabori. In: Neues Deutschland , August 29, 2007.
  21. ↑ Irene Bazinger: Funeral service for Tabori. One applauded a bit into the afterlife. ( Memento from August 22, 2014 in the Internet Archive ). In: FAZ , August 28, 2007.
    Detlef Friedrich: In front of the empty Taboris armchair. In: Berliner Zeitung , August 28, 2007.
  22. ↑ a b c Tábori György domborműves emléktáblája. In: Köztérkép [Public Map], accessed May 12, 2015.
  23. ^ Mátyás Varga: Vita. In: VargaArt.com , accessed April 28, 2018.
  24. ↑ Benjamin Engel: Between farmers and the wealthy. In: Süddeutsche Zeitung , June 30, 2015.
  25. ↑ Andrea Welker: Chronicle of life and work. In: George Tabori. Don't make a fuss! In: du. Die Zeitschrift der Kultur , issue 719, September 2001, Tamedia AG, Zurich, online: p. 88.
  26. ↑ Johanna Adorján : “I felt sorry for Hitler.” ( Memento of March 11, 2007 in the Internet Archive ) In: Tagesspiegel , December 24, 1999: “Was there such a thing as a greatest love in your life?” Tabori: “My wife . We have known each other for 25 years: She is the greatest love of my life. "
  27. ↑ Natascha Freundel: Autodafé. Memories. In: Deutschlandfunk , October 23, 2002.
  28. ↑ a b The shrewd melancholic. A selection of his most beautiful sayings. ( Memento from September 29, 2007 in the Internet Archive ) In: ZDF , aspekte , July 27, 2007.
  29. ↑ Hans-Dieter Schütt : Daisy, Sunflower. In: Neues Deutschland , July 25, 2007, (only last sentence incomplete).
  30. ↑ ddp : George Tabori died. In: neue musikzeitung ( nmz ), July 24, 2007.
  31. ↑ Elfriede Jelinek : The point of light. A homage. In: George Tabori. Don't make a fuss! In: du. Die Zeitschrift der Kultur , Issue 719, September 2001, Tamedia AG, Zurich, online: pp. 42–43.
  32. ↑ The playmaker. ( Memento from June 30, 2004 in the Internet Archive ) In: 3sat , May 23, 2004.
  33. ^ Theater at St. Clement's Church. In: broadwayworld.com , accessed May 12, 2015.
  34. ^ Review of Peepshow : "Dear George". In: Die Zeit , April 13, 1984, No. 16.
  35. ↑ Meeting of Günther Grack: , Early Death ': obsession with youth, age joke. In: Tagesspiegel , January 23, 2001.
  36. ^ Honorary citizens of the Eschede community: Heinrich Lange and George Tabori.
  37. ^ Tabori price. In: fonds-daku.de , 2019, accessed on June 5, 2019.
  38. ↑ Previous self-presentation: A warm welcome. ( Memento from March 22, 2016 in the Internet Archive ). In: Fonds Darstellende Künste .
personal data
SURNAME Tabori, George
BRIEF DESCRIPTION British playwright, theater director and journalist
DATE OF BIRTH May 24, 1914
PLACE OF BIRTH Budapest , Austria-Hungary
DATE OF DEATH July 23, 2007
Place of death Berlin , Germany