Katerina Poladjan

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Katerina Poladjan ( Russian Катерина Поладян ; * 1971 in Moscow ) is a German actress , radio play speaker and writer .

life and work

Katerina Poladjan was born in the Soviet Union . Her grandfather was a survivor of the Armenian genocide . She came to Germany in the late 1970s. In Berlin she attended a grammar school of the Archdiocese of Berlin and completed a degree in applied cultural sciences with a focus on philosophy and art at the Leuphana University of Lüneburg . Her father Michael Poladjan is an internationally recognized artist and her mother Irina Olegowna Vinizki geb. Cheglowa is an art historian and journalist.

Katerina Poladjan writes novels, essays, theater texts.

In 2011 the first novel In One Night, Elsewhere was published by Rowohlt Verlag Berlin. In 2014 she received the Alfred Döblin Scholarship from the Berlin Academy of the Arts . The novel Maybe Marseille followed in 2015 and the literary travelogue Behind Siberia in 2016 . A trip to the Russian Far East , which she wrote together with the author and director Henning Fritsch. At the invitation of Meike Feßmann , Poladjan took part in the Ingeborg Bachmann Prize 2015. The novel Hier sind Löwen , which was nominated for the German Book Prize, was published in 2019 .

Katerina Poladjan lives in Berlin.

Single track

anthology

  • Die Bergsteigerin , in: Ziegel 10 - Hamburger Jahrbuch für Literatur 2006/2007 . Verlag Dölling and Galitz, Hamburg 2006/2007, ISBN 978-3-937904-32-0 .

Filmography (selection)

Radio play (selection)

Award

review

One night somewhere else

“Katerina Poladjan's rather gripping debut novel: There may be a peculiar subtlety in the closeness of the sound of the words dying, inheriting and perishing, because such a legacy sometimes brings out dark, highly unpleasant details of the family history. A popular subject for crime novels and psychological thrillers. The gripping debut novel by Katerina Poladjan can be read as such. A family tragedy that encompasses three generations of women unfolds in less than two hundred pages and sends shivers down your spine. [...] In breathless staccato, in the suggestive present tense, the protagonist tells her ghostly, depressing journey into the Russian night and her own origins. "

- Sabine Berking : Frankfurter Allgemeine Zeitung , January 10, 2012

Maybe Marseille

“Poladjan plays with balances and opposites here. The polyphony of its protagonists is artfully composed and yet easily performed in alternating tempos. Almost like a sonata by Bach. "

- Judith Luig : Berliner Morgenpost , September 10, 2015

“Katerina Poladjan's“ Maybe Marseille ”shows life as a time-path diagram. The novel's tricky dramaturgy alternates between Salzburg, Munich and Marseille, this world and the next. His language is reserved to the point of brittleness because it doesn't want to explain anything. She doesn't want to interpret, but rather to keep things in suspension. At this year's Bachmann competition, an excerpt as “silent prose” was a great success. Poladjan succeeded in the feat of telling of existences that had collapsed in all stylistic serenity…. Katerina Poladjan can do a lot, she can tell stories in just a few sentences, for which some others need many pages. "

- Paul Jandl : Literary World

“Maybe Marseille” begins like Ibsen's drama “Nora or a Doll's House”. (…) In the background of this text is not only Nora's revolutionary gesture, which Poladjan transposes from the beginning of modernity into the 21st century and as a step out of automatically unwinding life courses reactivated. One could also speak of Godard's cheerful and desolate melancholy. In general: Once you have recognized Jean-Luc Godard as the godfather of the novel, it becomes clear that the author for her part is stepping out of automated narrative modes. It creates tension atmospherically, prefers theatrical staging to pseudo-authentic realism and relies on the mind, not on empathy and identification. (...) “Maybe Marseille” is now even more radical in its artistic claim, a fine literary etude, the prelude to a work whose outlines one can already guess. This novel stands at right angles to the tension dramaturgies, the authenticity realism and the plot machines of serial narration, which currently shape our possibilities of attention extremely. A narration that leaves space for the reader and the freedom of decision, a narration that Jean-Luc Godard perfected in the film. (...) In a time when the middle class is losing sight of itself and visibly no longer wants to reflect on the origin of fears and desires, understanding is needed before empathy. Also and especially in literature. And such books are needed that have the courage to draw the consequences for the form of their narration. "

- Insa Wilke : Süddeutsche Zeitung , November 25, 2015

There are lions here

»An intelligent, instructive and poignant novel.« Denis Scheck, WDR, December 22, 2019

»Strong in the dialogues, concise in the human sketches. Katerina Poladjan has mastered the art of omission. And yet everything is atmosphere in her novels. «Meike Fessmann, Der Tagesspiegel, October 5, 2019

»Poladjan [creates] a crystalline poetry from the finding that every storytelling, every remembering is cutting up and adding new things and encircling blurring and receding horizons. [...] Helen's actions are like surgical interventions, and this is exactly how Poladjan puffs through the stories with her language knives. «Cosima Lutz, Berliner Morgenpost, September 24, 2019

"[The novel] is at the same time her most ambitious and her most personal - and her most successful, a very remarkable and readable piece of literature." Sigrid Löffler, MDR Mitteldeutscher Rundfunk, September 17, 2019

»[There] remain strong impressions and images that make“ Here are lions ”very readable« Ulrich Rüdenauer, SWR2, August 11, 2019

“The book is gradually releasing its magic. It's a treasure chest that contains more than you can see. «Cornelia Geißler, Frankfurter Rundschau, August 10, 2019

»Katerina Poladjan keeps her novel in balance between the historical and the fictional. She knows that memory always produces new variants of the factual […] «Paul Jandl, Neue Zürcher Zeitung, August 5, 2019

"[...] a language that never gets sentimental [...] a beautiful mixture of poetic lacony and liveliness [...] very readable" Olga Hochweis, Deutschlandfunk Kultur, July 31, 2019

»The care with which the pictures in this novel are drawn and used is shown by the example of the old book […]: Helene penetrates painstakingly, the craft with knife, needle and thread is supplemented by almost alchemical processes of color extraction or cleaning illustrations. Should the restorer replace the tears or only secure the edges of the tears? Is it better to think of answers to the painful questions of history, or is it easier to bear the fact that sometimes there can be no redeeming answer? «Fridtjof Küchemann, FAZ, July 18, 2019

"At the end of this very clever and moving novel, there are both: a tragic and a happy ending, divided fairly between reality and fiction." Richard Kämmerlings, Die Welt / Literarian Welt, July 8, 2019

»Katerina Poladjan cleverly and discreetly reflects the enormity of the genocide and the presence of an offside country, in poetic, edgy language [...]« Martina Läubli, NZZ on Sunday, July 6th, 2019

“Emotional, exciting, sometimes almost magical.” Stern, June 27, 2019

literature

  • Theo Breuer : Twenty Days - Twenty Novels: A Book Game . In: Matrix . Journal for literature and art , 58th edition, Pop Verlag, Ludwigsburg 2019, pp. 7–167.

Web links

Individual evidence

  1. ↑ Armenia: The horror repeats itself every day Die Zeit . April 23, 2015, accessed April 13, 2019
  2. ↑ Katerina Poladjan. In: rowohlt.de. Retrieved November 26, 2017 .
  3. ↑ Alfred Döblin Scholarships in Wewelsfleth 2014. In: adk.de. Akademie der Künste, Berlin, March 17, 2014, accessed on November 26, 2017 .
  4. ↑ Katerina Poladjan, D / RUS - Bachmann Prize. In: bachmannpreis.orf.at. May 28, 2015. Retrieved November 26, 2017 .
  5. ^ Rowohlt. Berlin Verlag .: Maybe Marseille . New edition. Rowohlt Berlin, Berlin 2015, ISBN 978-3-87134-810-5 .
  6. ↑ An author searches for her roots , SWR2 Readable Magazine, accessed August 11, 2019
  7. ↑ Work and research grants awarded to 29 Berlin authors , report on Buchmarkt.de from November 26, 2019, accessed on November 30, 2019.
  8. ↑ Sabine Berking: Just not to Moscow! Katerina Poladjan's rather gripping debut novel. In: Frankfurter Allgemeine Zeitung. January 10, 2012, accessed November 26, 2017 .
  9. ^ Judith Luig: Katerina Poladjan's novel: Travel with an indefinite goal. In: morgenpost.de. September 10, 2015, accessed November 26, 2017 .
  10. ↑ Insa Wilke: Subcutaneous explosive. In: sueddeutsche.de. November 25, 2015, accessed November 26, 2017 .
personal data
SURNAME Poladjan, Katerina
ALTERNATIVE NAMES Поладян, Катерина (Russian)
BRIEF DESCRIPTION German actress, radio play speaker and writer
DATE OF BIRTH 1971
PLACE OF BIRTH Moscow , Soviet Union