#sz. berlin

[christianfriedelfan]

Christian Friedel for Süddeutsche Zeitung

Detailed Explanation about the photos below the cut:

This is a famous column of the news paper where they ask actors to answer the questions only with facial expressions/ poses etc.

The 10 questions were:

1. You say about yourself that you have a “historical face”. Could you show us?

2. Going to a demonstration or staying home?

3. Your mood at the Berlinale?

4. What interests you of horror?

5. Since your first movie was The White Ribbon, how can you top that?

6. Private: Cinema or Netflix?

7. How does it look like when you go out fully?

8. You learned how to ride for The Zone of Interest. How do you feel on a horse?

9. What does an actor do to combat a growing ego?

10. How do you react when something does not go according to your plan?

[gamat3000]

[koshigurajumy]

Béla Bartók - Music for Strings, Percussion and Celesta, Sz. 106 - 3. Adagio Conductor: Herbert von Karajan Berlin Philharmonic

[autopsiaband]

AutopsiA  is honoured to be included in the Embryogallery Film Festival, London, 24th of October, shown alongside Autechre, Pan Sonic, Alan Vega, Sophia Feuer, Sz. Berlin ± Panic, Edward Quist, Ilpo Väisänen, John Duncan, Nonfilms, 51717... The screening will take place in London, 24th of October, SET Woolwich, Riverside House, Beresford Street, London, SE18 6BU, UK

[21secondsofchristoph]

This is probably the longest interview I've ever read.

"Why do you have to be happy all the time?"

Photo: Peter Rigaud/laif

Oscar winner Christoph Waltz in a long interview - about gold and dirt in Hollywood, careful filming, his role as a management consultant in "The Consultant", and the question of what Lufthansa did with his new Rimowa suitcase.

Interview by Alexander Gorkov

February 24, 2023

A long afternoon with coffee, cognac and cake. Christoph Waltz, visiting Berlin from Los Angeles, is always excited and attentive – he pauses between sentences and then always continues to formulate it ready for publication.

SZ : Management consultant Regus Patoff ostentatiously smells the young people who will report to him in the series “The Consultant” upon his arrival. He cuts his fingernails and nose hair in the office, he calls his people at three in the morning, monitors them...

Christoph Waltz: The fact that the young employees line up and I memorize their respective smells is a scene that immediately made sense to me when reading the pilot episode.

SZ: Which made reading fun?

CW: That's the thing about joy. Some things are fun, which then turn out to be rubbish. No, obvious, in the sense of light rising. Incidentally, at first I only knew the script for the pilot episode.

SZ: The books for the eight episodes weren't ready when it started?

CW: No, just the pilot. Then, after the whole production was okay, Tony Basgallop sat down and continued writing. Always in increments of two episodes. So when we were filming episode three, we didn't know what episode six was going to be like.

SZ: What about the Writers' Room, 20 authors, you imagine that would be more complex for a US production with an Oscar winner?

CW: That's already there. But that was not the case with the “Consultant”.

SZ: How much of it was created while shooting, i.e. spontaneously, also with regard to the character Regus Pattof?

CW: I can't say any more. Afterwards it might not matter anyway.

SZ: Jennifer Coolidge recently said she worked with the crew to develop this somnambulist of her character in "White Lotus" while we were shooting. Could these be signals that a certain desire for spontaneity and creativity is returning after rather bleak years in films and series?

CW: It would be nice anyway. Maybe word would slowly get around again that the fixation on algorithms and pie charts, i.e. on this alleged readability of the swarm behavior of viewers, does not tell any stories that could be worth experiencing for the viewer. So if there were no swarm at all. That filmed stories should be produced by film companies, not tech companies. With the unavoidable risks and side effects that always have an effect anyway.

SZ: The character of Regus Patoff, as diabolical as it is, is sometimes reminiscent of the characters of great comedians of yesteryear, whom one could, so to speak, watch while thinking...

CW: Thanks... Is the comparison possibly a bit bold?

SZ: There is a scene in "Sons of the Desert" in which Stan Laurel bites into an apple which he steals from what appears to be a fruit bowl - but it is not a real apple, but a decorative apple made of wax. And he thinks, and you can see it: Oops. So without making a grimace.

CW: Well...he doesn't think, "Oops!" He draws the viewer into his complication of recognition. He doesn't demonstrate clumsily how B follows A because that's what the script says. Rather, he involves himself and the viewer in an extremely complex process.

SZ: Namely?

CW: He bites into what he must think is a real apple because it looks like a real apple. Any normal prankster would now make a number out of the sudden recognition - spit out, suffocate, disgust, whatever the repertoire has to offer. But Stan Laurel sticks to the process: put to use as a real apple, the assumed reality now intensifies. He keeps chewing!

He calmly bites off more pieces, chews, swallows.

Under explainable difficulties. Which he still wonders about.Especially since he always secretly takes the apple from the fruit plate and puts it down again after biting into it. He doesn't want to get caught. And so he gets more and more involved and can't find out anymore. He has to eat the wax apple whether he wants to or not, even though the truth seems to be dawning on him.

SZ: You go nuts while watching...

CW: It's awesome. And to play that, this knowledge behind the lack of understanding - that requires very deep understanding, very deep knowledge. An insane intelligence too. But we're not just talking about a comedian here.

SZ: Rather?

CW: Genius...? Can one know?

SZ: Are we talking about the funniest two minutes in movie history?

CW: What would then be the second funniest and the least fun? I definitely want to avoid ranking, especially with a phenomenon like Stan Laurel. This perpetual ranking...blunt quantification. We thereby lose the ability to discuss the qualities.

SZ: Basically?

CW: Basically, of course. It takes constant attention, practice, and refinement, and it's tedious and tedious at times... I don't give a damn what rhetorical platitude any self-proclaimed expert can squeeze onto the internet about whatever.

SZ: But back to the faint hope of spontaneity and creativity...

CW: All I can say is that filming The Consultant was, of course, also an industrial process as a whole, which, however, miraculously relied largely on the non-industrial contribution of the individual. In this respect, this shooting differed significantly from what the series is about. Talented adults of different ages make their constructive contribution to the whole to the best of their knowledge and ability. It doesn't get much better than that... It's very different than, for example, checking in a suitcase at Lufthansa with childlike trust!

SZ: With the result?

CW: That I'll never see him again. And at Lufthansa, trying to get your suitcase back is a completely depersonalized and utterly industrial process.

SZ: Happens?

Happens.

SZ: Los Angeles – Frankfurt?

CW: Not at all! Munich – Berlin. I checked in the suitcase on December 16, 2022 – in the meantime, in the literal sense, in the box. I never saw the suitcase again. Not until today. A brand new Rimowa with nice things you've come to love inside.

SZ: How is the complaint made?

CW: Industrial. According to quantifiable measures. There has been a Property Irregularity Report, reference number BER-LH-33385, for more than two months. The Rimowa was originally supposed to be delivered to Berlin from Munich on December 30, 2022 with flight LH1934. I know all the numbers by heart. Some of the advisers at Lufthansa's complaints center also look familiar to me.

SZ: At least there's that.

CW: Yes, they are all very friendly, I have to say. They chat very understandingly, are diligent, give advice, and so one slips unnoticed into a labyrinth. You mutate into a process.

SZ: After all, one is a process. Isn't that a form of recognition?

CW: But on the contrary! You are fed into a digital metabolism and digested by the algorithm. The metabolic consequences do not deserve credit.

SZ: It is reminiscent of Kafka's trial. This is also possibly because the suitcase hasn't turned up again for two months.

CW: One is isolated, waiting, wandering around, lost in a digital labyrinth. For weeks, for months you think: where is my suitcase? I checked it in at a modern German airport with a leading airline on December 16th, 2022 to be returned to me at another modern German airport about an hour and a half later the same day.

SZ: With the result?

CW: Why result? It wasn't any of the two. Neither modern nor handed over.

SZ: Part of the fascination here is certainly that you ask yourself: What could be the reason for the apparently complete disappearance of the suitcase?

CW: For example, someone from Lufthansa recently told me that the weather was bad on December 16th. In the winter? In Munich? Snow and ice? For real?! That's why the train that my wife and I had originally booked was already cancelled... So did the suitcase fall out of the plane? It's a kind of conjecture industry, depending on which of the always friendly people at Lufthansa I'm talking to. Everyone suspects something different.

SZ: It may have been stolen.

CW: Even very likely - after all, a very personal and analogous twist of the story. Or it just got lost. Also analogue. If it were a medical emergency, I would have been dead weeks ago.

SZ: How about appearing as a sadist to Lufthansa and becoming unpleasant?

CW: I've thought about it. But nobody cares anyway. Because the friendly Lufthansa people are the biological extensions of the algorithm. It's definitely in the contract of employment.

SZ: Is Regus Patoff a sadist in The Consultant?

CW: I see it more as an attempt at correction. Or an excommunicated Archangel. A Knight of the Grail. He also does a job.

SZ: Which?

CW: He appears in the gaming company "CompWare" and confronts the young programmers with the ruthlessness of his methods with, how to put it...

SZ: ... oneself?

CW: Yourself and each other, yes. You then ask yourself a few essential questions: Am I still capable of making qualitative distinctions or only quantitative ones? So am I doing things for their quality or for their usability? By fixating on the short-term, quantitative usability of my work, am I anticipating obedience, an obedience that no political dictatorship forces me to? Do I still use my brain, which was made for the most complex tasks, or will I become a kind of task-specific artificial intelligence and will therefore soon be replaced by one? So in the end do I subordinate everything to this one and supposedly essential condition – usability, short-term economization?

SZ: A series about conformity?

CW: A hopefully entertaining series about conformity. Our business is entertainment. And yes: about conformity and what it takes to question it.

SZ: What does it take, courage?

CW: Courage is a jargon word. Everyone has courage - or thinks they have it, no? Even the heavily subsidized think they have guts. I can't really hear the talk of courage anymore.

SZ: So what does it require?

CW: Rather, does it require... effort, effort? It requires a brain, an on-going one. Our brain can distinguish between quality and quantity, it doesn't take any courage to do that. The brain can do it just like that - if it is reasonably well fed.

SZ: On the other hand, when since 1968 were some young people noticeably less conform than they are today? They demonstrate for climate protection, are language-sensitive, gender-sensitive, against racism, against ...

CW: So so ...

SZ: Yes, yes.

CW: Yes, yes, yes.

SZ: No?

CW: But. Naturally. And rightly so.However, I cannot understand that these sensibilities would be new apart from their preparation and the jargon. People haven't always thrown mush at paintings and blamed Vincent van Gogh to feed the networks spectacle, that's true. Since the Club of Rome report in the early 1970s, however, people have been demonstrating against environmental destruction, in Wackersdorf they did it in the mid 1980s, since the 1970s at the latest it has been about the rights of gays and lesbians, in the 1980s against discrimination against people infected with HIV , in the early 1980s half a million people ran through Bonn against the retrofitting – in the lead the Greens party, which is particularly active in this context today. Apropos - few figures in Germany fascinate me more than the Panzergrenadier from the Greens ...

SZ: Anton Hofreiter?

CW: Excellent material for a comedy. A transport expert does not become Minister of Agriculture after the election. So he stiffens, turns tomato red with anger – and is an expert on armament issues. boom.

SZ: At the same time, speaking of conformity, young people today are more likely to ask themselves the question of work-life balance, i.e. quality of life rather than pure income quantity .

CW: Can you balance yourself prophylactically? Even before it really starts to wobble? I don't know... In France, 17-year-olds are demonstrating against pension reform, right?

SZ: Well, a man from a leading management consultancy in Munich recently told me that highly qualified people have recently been telling him more often during job interviews: They are more interested in a four-day week than in more money, the competition is offering them that.

CW: This is initially understandable from the point of view of the consumer. The producer certainly has a different perspective because he might sooner or later lose the consumers, right? Which then makes the four-day week absolutely necessary. But then it is no longer a profit. So who is balancing what then? Or who? And could these job interviews be more of a European phenomenon?

SZ: Aren't the mindfulness consultants in the greater California area eager to proclaim this inner pendulum?

CW: Yes, maybe... And why? Voluntarily? The American person has to constantly make money, so does the mindfulness consultant with her web shop. The American man defines himself economically. In my area, with actors for example, especially those who have big plans, is it about work-life balance? They need follow-up contracts, they want to be part of a possible second season, the health insurance has to be paid for, school, kindergarten have to be paid for, life has to be paid for – not to forget the entertainment, i.e. the distraction from all of that also has to be paid for become. Not glamorous. Both parents work, not for reasons of social progress, but like crazy, and because there is no other way. Withoutwork no life , so work is better then – that would be the balance .

SZ: What's wrong with not getting gutted?

CW: Nothing! On the contrary. It is important not to be left out. Among other things, "The Consultant" is about. Of being literally gutted behind that mindful facade of colorful booths and walking around barefoot to feel yourself, and all that horrific, humiliating gibberish. About how the so-called creative people in particular completely subordinate themselves to economic success. And also from letting yourself be gutted. With what I am saying, I am only describing reality as I perceive it: economic success is the quality that constitutes the collective subconscious of the United States par excellence. Ranking makes this measurable. And tangible. I'm not saying that in a haughty manner, but up to a certain point as an equal among equals. In my first 35 years as an actor, I usually said, when someone came up with an offer: “Work? I'll do it! shit work? I do too!“

SZ: So shit movies.

CW: Why shit movies?

SZ: So the movies that...

CW: No! That was my life, with all due respect. Should everything that was good just be dropped now? There was some very good stuff there, thank you very much.

SZ: Forgive me.

CW: Clearly this was also training. Everything is always training. This is where the brain comes into play again. If it's allowed: mine. I always kind of knew why something was "shit". This is an immeasurable treasure, a treasure called experience.

SZ: Tempi passati.

CW: I am deeply grateful that my circumstances have largely changed over the past 15 years. But it doesn't change the fact.

SZ: Especially since one is usually wiser afterwards...

CW: Of course: You don't look forward to it while you're still in it. But you don't spend your life with gold alone. Nobody does that. I've actually worked on stupid films with the greatest colleagues from time to time. Here as there. But it is also about participating in life by doing. And with what? With good reason! For example, because you have a family and earn money, a very, very honorable process.

SZ: But this work does not really make you happy at the time of its creation.

CW: Why do you have to be happy all the time? Who invented the compulsion to be lucky? Everyone must always be happy... No wonder no one is happy. Except for the happiness industry.

SZ: The right to happiness - "the pursuit of happiness" - is one of the "inalienable human rights" in the USA! Since 1776!

CW: But not the right to be happy . The Right to Pursue Happiness ! pursuit ! Logically, this means, especially when it comes to forming a society, that I also allow others to strive for happiness to the same extent, not that I only try to enforce mine by force of arms.

SZ: Like I said, an American...

CW: The right to be happy only exists according to the mindfulness coaches just quoted, and those from 2023, not 1776. Those who make money by looking happy on Instagram. happiness industry. It's gotten tough in America. Hard and unforgiving. Europe is still a bit shy in this regard, but it will catch up.

SZ: Also in Hollywood, does that also affect the film industry there?

CW: yes sure, maybe not? But like I said, one can hope. I at least hope that something is changing for the better right now. If I'm not an optimist, at least I'm naive! But in terms of the years I've been living there now: the fixation on quantity, the fixation on the measurable, on pie charts, tools for reading users - it's not obvious that the parts of the brain where creative people used to be their Quality awareness suspected, meanwhile dry up?

SZ: That means you make everything ready for the user, so to speak?

CW: Do you have users or readers at the Süddeutsche ? If you still have readers: never consider them users... my non-authoritative advice. The technical means of spreading nonsense have never been available on this scale, and a repulsive figure like Donald Trump could only become President of the United States of America because there was fire from all channels, both digital and analog: He won't, will he? Will he?

SZ: Well, he ran for the post. Should you ignore that?

CW: Why should one ignore him - but hysterize for months? Because it sells? Trump as a repulsive figure was very old hat long before his presidency became more likely. He has been an obnoxious, vile phenomenon for decades. That was impossible to miss. But Trump, Brexit, all these dystopias from 2016 and after, they exist because they were spread , no longer communicated, and it's being disseminated for commercial reasons, while not conveying that each and every individual could care to expose Trump as a lie or to expose Brexit as a lie. We can all take a good look at our own noses here, with what we write, send, spread or help spread ... No feuilleton, for example, has to deal with Prince Harry.

SZ: Oh...

CW: Because it clicks? But does it make sense beyond that ? The sensitivities of a prince, apparently not the brightest candle on the candlestick, who publishes a tearful, post-pubertal commissioned work? Because daddy is always so mean? And why is he publishing it? Because you can make a lot of money with it and with a supposed "documentary". And the feuilleton sacrifices its integrity?

SZ: It also depends on how you reflect it.

CW: Reflecting does something quickly. Especially the so-called reflection is always extremely useful commercially and socially. Never looks bad either. The supply creates the demand.

SZ: Often there is also a demand that first ...

CW: Forgiveness! In the meantime, it often has features of self-incapacitation! And from the side of those who should know better! The lesson, by no means only in Hollywood, from the last few years: the so-called people are possibly much smarter than those in the know would like to give them credit for, and people have a flair for jargon and stupidity. They want to be entertained, of course, but not fooled. They often even want to be challenged, but not fooled. You smell the intention and you may not be upset right away, but you're always upset. The intention is always perceptible. For anyone who wants to take a look.

SZ: From this point of view, a fascinating, coherent but long scene like the beginning of “Inglourious Basterds”, in which an Austrian named Christoph Waltz, who was relatively unknown in the USA at the time, drinks milk as SS man Hans Landa and fills a meerschaum pipe, would hardly be seen today more possible, right?

CW: It might not even be attempted by most. Although, of course, there are still a select few who make great attempts. I now embrace every sincere eccentric I meet.

SZ: The scene lasts 20 minutes, an eternity by today's standards.

CW: 18 minutes ... It's all a matter of consciousness, the '68ers were right about that. And if my consciousness as a so-called creative person is solely geared towards the mercantile advantage, then this is communicated unmistakably. Basically, "The Consultant" tells from the guts here. anticipatory obedience,Timothy Snyder taught the right lesson: If you value our values, in a democracy, under no circumstances be hasty obedience. It's by no means all dirt that can be streamed or, rarely enough, seen in the cinema - but the sheer mass of what is produced may have reached a tipping point. The unconditional subordination to economic expectations is perceptible as such. Since the mouse bites from no thread. But is that really reason enough to watch the whole thing?

SZ: The thousand tiles of the streaming services, predictable plots and trigger points everywhere?

CW: And jargon instead of content! Everyone has been busy throwing themselves on the audience's laps over the years. Whatever you want: we do it, it will be delivered - in the desired jargon. Like the drug dealers and pornographers. But it's an unfounded claim. The intention is clear and therefore also clearly recognizable.

SZ: Ten years ago, after “Breaking Bad” and other fantastic, complexly told series, we were still talking about the golden age of television.

CW: And then streaming completely turned the entire film industry inside out. Everyone wants to do the business or at least not leave the business to the competitor alone.

SZ: Why didn't you continue to make series with complex narratives?

CW: Because industry has always embraced the avant-garde and then turned the tide. You then no longer trust the idea, certainly not the eccentric idea or even an intention that goes beyond the economic. But the stitch that you knit from it. This is how the mainstream has evolved for centuries. Today the algorithm works. The core business of the streaming service is the share price. Ergo: The decisive factor is the number of subscribers. But the subscription is not a single film. They are all films that can be squeezed into the offer. Ergo: the algorithm. The algorithm feeds only on the density of the mass. This mass of information only arises if the audience simply gets everythingcan be thrown to the table, the gold like the shit. The carpet bomb principle. Most bombs don't hit, the duds don't matter anyway, and some hit is bound to be there. It has to do enough damage to justify the whole rug though.

SZ: To the chagrin of those involved. So not just the viewer.

CW: Writers, directors, actors, many great people, not just young people with great ideas. And with fantastically functioning brains. Used to make the background look populated - quality swallowed up by quantity.

SZ: A black hole. How do you escape this?

CW: I'm not at the higher decision-making level, I'm just an actor, so I'm offered what's out there and what I'm eligible for...

SZ: ... at least in Hollywood.

CW: After all, why in Hollywood? It's the same everywhere. And certainly not only in film and television. All right, Hollywood, if that sounds better. I always want to go beyond this binary yes or no decision with an inquiry; So is the idea and possible design of a film or a series the rub or the dog buried? Is the idea worthwhile in qualitative, narrative terms, for example to spend a year or two of my life on? Who are the people to spend these two years with?

SZ: What is the reaction then?

CW: I often hear: "We are very interested in your input!" ... a shameless lie.

SZ: Fun.

CW: It's going ok. Little is discussed, little discussed or, God forbid, criticized. For speculating and calculating.

SZ: Movies have always cost money, have they not?

CW: Of course, it's nothing new that film costs money. The director John Boorman wrote a wonderful book about it a number of years ago, which is perhaps more relevant than ever: "Money into Light". No money, no film.

SZ: Which isn't bad per se.

CW: Yes,why? You don't even have to wish for anything else. But should the discussion in advance, when it doesn't cost anything and can be endless fun, only revolve around quantities and not at all about whether it's worth it from a qualitative point of view, i.e. literary, cinematic, artistic? Is there only one single intention? Money without Light ? One does not exclude the other! I don't want to understand how you can miss the really exciting, rewarding part of it all. Well, unfortunately I already understand. Everything is delegated somewhere intangible, where no one needs to answer questions.

SZ: As in the complaint case "Rimowa" and Lufthansa.

CW: In the film industry, when you have an idea, you say: “We could get that done .” Or: “I can’t get that done. That's actually mostly true, especially in the negative case. The result is films or series full of inauthentic stories, inauthentic speech, inauthentic images, underlaid with soapy, inauthentic music. They are films that are made because they are made.

SZ: Plus test screenings?

CW: Depends. I've seen a very, very ugly producer come close to flawless beauty after a successful test screening, simply because he was so happy. Why? Because 98 percent of test-watchers had ticked that they had just seen the best movie of their lives... this test-screening hit turned out to be a flop of historic proportions.

SZ: Now that's funny.

CW: Yes, yes.

SZ: Of course, our curious readers are curious to know which film it is. Will they find out?

CW: No.

SZ: And should we see an apple tree towards the end...

CW: Not necessary at all! Like I said, maybe something is changing. Perhaps the business model is reaching its limits in these excesses. Something has to change in order for it to continue. Streaming was a revolution, for sure, but the revolution can't eat its grandchildren.

SZ: Is Los Angeles still the right place then?

CW: I really, really like living in Los Angeles. Just in case it didn't sound Californian enough by now.

SZ: It wasn't always like this, was it?

CW: Not to that extent, no. But I love living there now more than ever. It's a unique collection of people, ideas, opportunities. Plus this beauty of nature. I don't want to miss that anymore. Incidentally, neither do the manners. I'm from Vienna, I like it when people follow the rules to some extent, even if it's just for reasons of a clearly distanced politeness that makes our everyday life a little easier. I'd rather be politely lied to.

SZ: Certainly interesting to come to Berlin in between.

CW: It's not interesting. It's horrible. Especially in winter.

SZ: Oddly enough, this fixation on making money goes hand in hand with great sensibilities, doesn't it? Fear of assault, wrong choice of words, all of that. Is it true that you have to take part in mandatory seminars before you start shooting?

CW: Yes. I don't do that.

SZ: Can you evade that?

CW: I don't know.I withdraw.

SZ: How?

CW: I don't need coaching to behave properly. I lead by example as I follow good example. I was brought up in such a way that I behave much better towards minorities and, by the way, also majorities, than the consciousness of the seminar leader is even able to assess. I could teach the seminar leader good manners .

SZ: Well, a privileged attitude, because of course, keyword economy, you won't do without Christoph Waltz in the end, does he attend the damn training course or not...

CW: In this sense: heartfelt thanks.

[enibas22]

„Sie haben gleich drei Lebensversicherungen? Wie ist denn das passiert?“

https://www.pfefferminzia.de/serien-star-wlaschiha-ueber-altersvorsorge-sie-haben-gleich-drei-lebensversicherungen-wie-ist-denn-das-passiert/

serien-star wlaschiha über altersvorsorge „Sie haben gleich drei Lebensversicherungen? Wie ist denn das passiert?“

Tom Wlaschiha im Mai 2022 bei der Deutschlandpremiere der dritten Staffel von „Das Boot“ in Berlin. © picture alliance / Eventpress | Eventpress Fuhr

07.07.2023

Tom Wlaschiha wurde durch Serien-Hits wie „Game of Thrones“, „Das Boot“ und „Stranger Things“ bekannt. Der 50-jährige Schauspieler, der in der DDR aufwuchs, sprach mit der „Süddeutschen Zeitung“ über sein Leben als „unser Mann in Hollywood“. Seine Altersvorsorge ist ebenfalls Thema – und dabei greift er auf altbekannte Vorurteile gegenüber Versicherungsvermittlern zurück.

Der Schauspieler Tom Wlaschiha hat viele Fans auf der ganzen Welt seitdem er in der Erfolgsserie „Game of Thrones“ den geheimnisvollen Krieger Jaqen H’ghar mimte. Es folgten Rollen in „Das Boot“ und „Stranger Things“. Auch als Synchronsprecher ist der Ostdeutsche gefragt, zuletzt etwa für den Pixar-Film „Lightyear“.

Der „Süddeutschen Zeitung“ hat Wlaschhiha nun ein großes Interview gegeben (Freitagsausgabe mit Bezahlschranke). Darin spricht der in DDR geborene Schauspieler unter anderem über seinen vermeintlichen Status als „unser Mann in Hollywood“. Seine Meinung dazu: „Ich habe zwar schon ein paar Mal in Amerika gedreht, aber noch nie in Hollywood. Andererseits: Es gibt schlimmere Attribute.“

Der Ruhm ist dem Ostdeutschen also eher nicht zu Kopf gestiegen, wovon auch diese Äußerungen zeugen: „Ich wohne immer noch in meiner Mietwohnung, die ich seit 22 Jahren habe. Der Verdacht, dass man nach zwei Serien nicht mehr arbeiten müsste, ist leider falsch.“ Er genieße es zwar, an erfolgreichen Projekten teilzunehmen, er wisse aber auch, „dass das schnell wieder anders sein kann“.

Das verleitete die „SZ“ zu dieser etwas unerwarteten Frage: „Wie sieht es eigentlich mit Ihrer Altersvorsorge aus?“ Wlaschhiha entgegnet folgendes:

Ich habe mir vor 25 Jahren drei Lebensversicherungen andrehen lassen. Das war keine so gute Idee, aber das sitze ich jetzt aus.“

Hier wird der „SZ“-Journalist hellhörig: „Sie haben gleich drei Lebensversicherungen? Wie ist denn das passiert?“ Wlaschhihas Antwort: „Ich hatte mit meinem ersten Serienjob etwas Geld verdient und wollte das längerfristig anlegen. Allerdings hätte ich das Kleingedruckte lesen sollen, was Kosten und Provisionen betrifft, dann wäre rückblickend das Geld an der Börse besser investiert gewesen.“

Versicherungsvermittler kennen das zu Genüge – wenn sich ein Bundesbürger dafür schämt, eine (oder mehrere) Lebensversicherung(en) abgeschlossen zu haben, wird dies gerne mittels einer Prise Vermittler-Bashing zum lustigen Anekdötchen ausgeschmückt. Motto: Ich war damals jung und naiv. Von „Andrehen“, „Aufschwatzen“ und „Nicht gelesenem Kleingedruckten“ ist dann die Rede – als habe man im Halbschlaf ein Zeitungsabo an der Haustür abgeschlossen und kein seriöses Beratungsgespräch über die persönliche finanzielle Zukunft geführt (wobei natürlich auch das zur Wahrheit gehört: Vor allem in den 90er-Jahren gab es hierzulande etliche nicht seriös geführte Beratungsgespräche).

Nun ja, immerhin ist Wlaschhiha so klug, seine drei Verträge durchhalten zu wollen – vielleicht, weil ihm der maue Rückkaufswert seiner Policen bekannt ist? Man weiß es nicht. Und zumindest diesen Satz des Schauspielers dürfte die Vermittlerschaft blind unterschreiben: „Auf eine Rente verlasse ich mich nicht.“

[graefineszterhazy]

Gräfin Eszterházy (Elisabeth)

As you can have guessed by my username, Gräfin Eszterházy is one my favourite musical characters. The character isn't historically accurate, because she is Elisabeth's main lady in waiting almost the whole musical, but real Sisi had more of them during her life.

Sophie Eszterházy-Liechtenstein was Sisi's lady in waiting in 1854-1862. She was Sisi's first lady in waiting and the Empress didn't choose her herself. It is said that they didn't have a good relationship, because Gräfin Sophie was much older than Empress Sisi.

In the musical Sophie Eszterházy agrees with Archduchess Sophie, but also helps young Elisabeth. Her character is very interesting, but so underrated.

I tried to find all the actresses that played Gräfin Eszterházy, but since she isn't always considered as main character (which she should), there aren't records about all the actresses. I didn't find all the alternates and swings yet, so here you have only the Erstbesetzung for most of the productions.

German

Vienna 1992 - Isabella Fritdum

Vienna 2003 - Kerstin Ibald

Vienna 2012 - Caroline Sommer

Thun 2006 - Roberta Valentini

Essen 2001 - Juliana Albrecht

Stuttgart 2005 - Maike Switzer

Berlin 2008 - Esther Hehl

German tour 2008 - Esther Hehl

German tour 2011 - Ann Christin Elverum

German tour 2015 - Angelina Arnold

Concert 2019 -

Concert 2022 - Steffi Irmen

Dutch

Scheveningen 1999 - Marleen van der Loo

Antwerp 2009 - Anneke van Hooff

Concert 2017 - Madeleine Sie

Concert 2018 -

Hungarian

Szeged 1996 - Ildikó Sz. Nagy

Miskolc 2000 - Erika Eperjesi

Budapest 2002 - Ildikó Sz. Nagy

Budapest 2007 - Ildikó Sz. Nagy

Baja 2014 - Ildikó Sz. Nagy

Győr 2019 - Ildikó Wolf

Kecskemét 2021 - Gabriella Schupp

Photo: Ildikó Sz. Nagy as Gräfin Eszterházy and Kata Janza as Elisabeth, Baja 2014 (source: Kata Janza's Facebook)

[igazikutya]

Zajok a nappaliból – Traxelektor 2023.02. (2022.14.)

Már a múlt hónapban tárgyalni akartam, de olyan volt nekem Kali Malone új lemeze, mint Kolumbusznak az óceán, a ráindulás se ment könnyen, ráadásul valójában ötször akkora, és még csak nem is India. Tavalyi prognózisomon, miszerint Kalit lassan elveszítjük track-szinten, mert átlép a kortárs művészet olyan régióiba, amik már csak önmagukon belül értelmezhető, teljes, oszthatatlan egész kompozícióként élnek meg, megvalósulni látszik. Lucy Railton (cselló) és Stephen O’Malley (gitár, elektronika, művészeti vezető) társaságában jegyzi a 3, körülbelül 50 perces darabból álló Does Spring Hide It’s Joy albumot. Az ötvenek – amiket a digitáis verzióban egybe-renderelve is feltettek, gondolom, hogy ne pattogjál már a húszperces trackek között - három tételből állnak, ambientedve.

Még a Covid évének őszén jött ki a Jumping Dead Leafs albuma, ez volt Detlef Weinrich utolsó nagylemeze, így lehetett számítani már egy Tolouse Low Trax albumra. Nem, mintha panasz érhetné aktivítását, jelenlétét, talán az egyik legaktívabb és legmarkánsabb vonásokat e-téren felvonultatni képes transzformátorok egyike. Tényleg aktív: csak tavaly 11 remixet jegyeztek nevével, Heimat, Ant Orange, Elektronik Body Girl és a többiek. Érdemes figyelni, hogy TLT kiket remixel, választásaival sokszor hívja fel a figyelmet olyan underground alkotókra, akik amúgy a köd leplében tevékenykednek. A Leave Me Alone a klasszikus épitkezős, barkács-matekos Tolouse Low Trax egy újabb szobakirakósa. Kreatív hangkészleteiből változatos ritmikával építi fel rövid témáit, semmi nincs túltolva, németes precizítással megtartott lényegiség. Bólogatni fogsz (megint). Már most látszik, hogy ezek a darabok a remixalbumon fognak kiterjesztve kiteljesedni hosszas technodarabok formájában. A lemez a hamburgi Bureau B-nél, Németország nemhivatalos krautrock archivátoránál jelent meg. A végére megjött Bianca is Rómából. Nagyon.

Adrian Sherwoodról is régen hallottunk, kiadója az On-U-Sound is inkább csak retrospektív kiadványok vonalán ketyegett, és ne felejtsük el: 2021 augusztusában, jamaikai otthonában eltávozott a közösség öreg sámánja Lee Scratch Perry is. A Fire nevű crew-ról eddig kb. semmit nem tudtam (a Discogs se), és eleve egy élő fellépésekre összeálló, vizuállal kiegészített, live-act-re szakosodott csapatról van szó, akikkel három éve dolgozott együtt Sherwood. A torinói Salgari Recordings-nál jelent meg a dub legenda és a crew 2020-as Torinói Jazzfesztiválon rögzített koncertanyaga.

Élőben természetesen Sherwood keverte és felügyelte a történéseket, a stúdióban pedig csak masterelték a felvételt (az apróbetűsbe beleírták, hogy hozzáadott dubot nem tartalmaz. Te mondd, hogy cukor, a te vérnyomásod mélyebb!). A zenészek tökéletesen összhangban tolják le a műsort,  mely valami különleges, vibrálóan élő elegye a jazz-nek, dubnak és elektronikának. Hallom benne Sherwoodot, felismerem a hangmintáit, meg végül is a klasszikus dub hangszerelés szól, de mégis, valahogy minden máshogy van, és ettől olyan üdítően szép. A Fire Crew tagjai: Ivan Bert (koncepció, trombita, brazil orrsíp, ukrán furulya), Marco Benz Gentile (gitárok, Moog, melodica), Filoq (szintetizátorok, élő elektronika), Gianni Denitto (alt-saxofon, élő elektronika), Pasquale Mirra (midi marimba, élő elektronika), Riccardo Franco Loiri (VJ), Adrian Sherwood (élő dub, keverés)

A techno továbbra se egy nagylemezes műfaj, és ha valaki 70-80 percben akarja ezt a műfajt élvezhetően kivezetni, a rövid (amb/drone) tranzitok beiktatása mellett nem ár, ha valami összetettebb kompozícióval is előáll az alkotó. Matrixxman a tranzitokkal tagolt a Dust World-ön, és feltette az általa legjobbnak tartott jelenlegi anyagot. Az összes technosémában kapunk érdekes műveket, és néha kevésbé érdekeseket is, azaz én néha skipeltem, sorry Charlie! Amerikai állampolgár létére Charles McCloud Duff is „berlin-based producer/dj”, és a 2015-ös Homesick album után ez a második nagylemeze, limitált szerzői kiadásban – mégis fent van Spotify-on, vagyis a Traxelektorban öt felvétel erejéig belefülelhettek.

Nem akartam eredetileg írni a Qant - Moonsick EP-jéről, de ha egy négyszámos EP-ről hármat beválogatok a Traxelektorban, akkor itt helye a megjelenések között. A Soundsystem Music Producer titulust viseli a Discogs-on a francia művész, kinek csak a pszeudója ismeretes, és tucatnyi EP/Single-jéből ez az első, ami a Holding Hands/Submerge labelnél jött ki, pedig műfajilag teljesen itt a helye a danszolópolipos srácok között.

Tartom, hogy feltámadásokkal teli szép évünk lesz (egész évben húsvét, egy lázá’om) - Seth Horvitz végre szólóban is aktív. Tulip Space címmel érkezik az új Rrose gyorsvonat. Nagyon hiányzott már ez a kifinomult, sokszor kecses techno – ezt a legnehezebb csinálni, és kevesektől is kapjuk meg. A nyitó A Row of Cylinders hétpercében ott van mindaz, ami miatt a 2010-es években a berlini Stroboscopic Artefacts művészeit szerettük. Van ez a kreatív bátorság, amivel a saját világában mozogni mer Rrose, ahogy a Squared experimentalba kifordított minimaltechnojával leültet, majd az In Place Matter-rel egy szerpentínen visszaemel, mindezt egy EP keretei között. 

Viels, aki nem keverendő össze Viers-szel [Jordon Saxtonnal]. főleg mert előbbiről ennyit tudunk, és hogy hét éve aktív, csak kislemez formátumban. Distorted Reality EP-jét gyémánt keménységű üveghangokkal ékesítette. A holland Dynamic Reflection kiadónál jelent meg.

Tulajdonképpen egy remek ráfutással készültem a múlt hónapban már beharangozott Optical Delusion-re, szép lassan végighallgattam az összes karizmatius Orbital albumot (Green, Brown, Snivilisation, In Sides, The Middle of Nowhere, Blue). Jó ötletnek tűnt, ám lehet, hiba volt. Mert azt már most kijelenthetem, a OD közelebb van a Wonkyhoz, mint korábbi társaihoz. De nem Wonky! Sajnos, amikor a nyafogásindexet nézem, a dicstelen előd hatásai rendre felbukkanak – a kirakóba erőltetett dubstep klisékről nem is beszélve - ami azért nagy kár, mert egy ekkora hangszerparkkal és rutinnal bíró párosnak ezernyi módja van, hogy elkerülje a korszakos modorosságokat, miközben nem esik át a stúdióban önnön epigonjának kihűlt testén. A hangokat adó közreműködők újak - Katharine Blake (Mediæval Bæbes), Dina Ipavic, The Little Pest, Penelope Isles, Anna B Savage, Sleaford Mods, Miller Y Coppe - és kb mindegyikük rendben is lehetne, de a dalok lényegesebben gyengébbek - az ilyen Are You Alive?-os vokáltrensz slágeres erölkődéseket meg gyorsan el kellene felejteni! Az Orbital-sound most is működik – ez nem kérdés. A Day One ahogy bekezd, minden elektronjában ott zizeg a mágikus Hartnoll dinamika, vagyis nem kell a tótündértől visszakönyörögni a mindentmetssző medzsikszvördöt valahonnan a kies északról. Mégis, a végeredmény olyan ötfen-ötfen, és az Orbital pulcsi megint kicsit halványabb lett az újabb mosásban – minden tavaszi napfény ellenére.

Ekézhetném az electrot, és kenegethetném vegán gépolajjal az Univacot újfent kéjesen, de a MagnetFunk EP kapcsán már muszáj kijelenteni, hogy egy kivételes arányérzék tartja ilyen magas szinten Rafael Martinez Espinosa zenéit. Mintha Kratwerk-től Detroit-on át mondjuk Jensen Interceptor-ig birtokolná a teljes elektro eszköztárat. Ezeket jól keveri, használja a 6-8 perces kompozíciói felépítéséhez, és az ipari védjegyek még a kontraszton is húznak egyet, hogy az eredmény masszív, tűéles és lehengerlő legyen. Tavaly a Helicon nem fér fel a Top 12 EP/Single listára – 16. lett – idén a MagnetFunk jobb eséllyel indul (4/4)

Már hat éve, hogy kijött az intelligens elektronika seat/saab párosának, a Talaboman-nek a The Night Land albuma. A pár svéd fele Axel Boman egy inkább felejthető dupla LP-vel villant rövidet tavaly (Luz / Quest For Fire). A spanyol Oriol Riverola, aki ezen a néven kevésbé, John Talabotként annál inkább ismertebb, mindenféle kollaborációkkal próbálkozott (Khidja, Maria Arnal) időközben. A Mioclono nevet viseli újabb, Arnau Obiols-szal közös párosa, melynek első albuma a Cluster I nevet viseli és Riveola barcelonai kiadójánál, a Hivern Discs-nél jelent meg. S nem véletlen hivatkoztam a talabomani előzményekre, ugyanis hasonlóan utazós, törzsi dobokra ráeresztett dallamos elektronikával hajtott, 7-16 perces kompozíciók alkotják 78 perces albumot, mely maga, a tetőtől-talpig stresszoldás, s még némi detroiti acid-minimaltechnot is hallhatunk, hawtinmentes plastikmant.

Megjelenések:

Residents - Triple Trouble [2022, Psychofon][OST] Ancient Methods - The Third Siren [2023, Persephonic Sirens][EP] Biosphere - N-Plants (Reissue)[2011/ 2023, Biophon][LP] Fire & Adrian Sherwood - Fire [2023, Salgari][LP] Kali Malone with Stephen O’Malley & Lucy Railton - Does Spring Hide Its Joy [2023, Ideologic Organ][LP] Matrixxman - Dust World [2023, Self-Released][LP] Mioclono - Cluster I [2023, Hivern Discs][LP] Orbital - Optical Delusion [2023, London][LP] Qant - Moonsick [2023, Submerged/Holding Hands][EP] Rrose - Tulip Space [2023, Eaux][EP] Tolouse Low Trax - Leave Me Alone [2023, Bureau B][LP] Univac - MagnetFunk [2023, 30D ExoPlanets][EP] Viels - Distorted Reality [2023, Dynamic Reflection][EP]

Traxelektor:

Traxelektor 2023 02 / 2022 14 Spotify playlist - link (58/69, 5:00/6:48, 84%)

Traxelektor Playlist 2022 14

Commodo - Eyewitness [Mysterious Trax 002, Mysterious Trax] Commodo - Shadowing [Mysterious Trax 002, Mysterious Trax]

Huerta - Space Dolphins [Liquid Social EP, Leizure] Huerta - Thrift Store Katana [Liquid Social EP, Leizure] Rapoon - Floating Words [These Are Dreams, Klanggalerie] Rapoon - These Are Dreams [These Are Dreams, Klanggalerie] Rapoon - What Do You Remember [These Are Dreams, Klanggalerie]

The Residents - Empty As an Elephants' Graveyard [Triple Trouble, Psychofon] The Residents - Lost Inside a Soul [Triple Trouble, Psychofon]

Viola - Girala [Sunbrnt, Reflue]

Traxelektor Playlist 2023 02

3.14 - Muck Tolerance [VA - Limitation, Pi Electronics] Alessandro Adriani - Kybernetes [VA - Limitation, Pi Electronics]

Ancient Methods - Rot And Retaliate [The Third Siren, Persephonic Sirens] Ancient Methods - Seers Turned To Voyeurs [The Third Siren, Persephonic Sirens] Ancient Methods - Sophia's Silent Woe [The Third Siren, Persephonic Sirens] Biosphere - Monju-1 - Modified [N-Plants (Reissue), Biophon] Burnt Friedman - Spray Men Chorus (Extended Version)[Hexenschuss (Asymptomatic African Polyrhytmic Electronica), Nonplace] Burnt Friedman - Tipo Duro (Extended Version) [Hexenschuss (Asymptomatic African Polyrhytmic Electronica), Nonplace]

Coco Bryce - Into The Groove [FR009, Future Retro London] CYRK - Ahemait [Attack Of The Blow Up Dolls, Cultivated Electronics] Deena Abdelwahed - Fête [Flagranti (OST), Self-released]

El-B & Burial - Prophecy [Prophecy, Nu-Levels] Elin Piel - Skog [VA - Into The Scandinavian Forest, Monument] Fire & Adrian Sherwood - Janjaweed Comes at Sunset [Fire, Salgari] Fire & Adrian Sherwood - Masaai Smiles [Fire, Salgari] Fire & Adrian Sherwood - Sinnervisions [Fire, Salgari] Fire & Adrian Sherwood - Skankification [Fire, Salgari] Jimi Tenor - Ainon Kyynel [VA - 7Ai9, Sähkö] Jon Hassell - Neon Night (Rain) [Psychogeography, Ndeya]

Loscil & Lawrence English - Black [Colours Of Air, Kranky] Loscil & Lawrence English - Grey [Colours Of Air, Kranky]

Matrixxman - 1312 [Dust World, Self-Released] Matrixxman - Airlock [Dust World, Self-Released] Matrixxman - Caught Lacking [Dust World, Self-Released] Matrixxman - The Curious One [Dust World, Self-Released] Matrixxman - The Heist [Dust World, Self-Released] Mioclono - Acid Rain [Cluster I, Hivern Discs] Mioclono - Disobedience [Cluster I, Hivern Discs] Mioclono - Fog and Fire [Cluster I, Hivern Discs] Mioclono - Retorn [Cluster I, Hivern Discs] Orbital - The New Abnormal [Optical Delusion, London] Orbital feat. Dina Ipavic - Day One [Optical Delusion, London] Orbital feat. The Little Pest - You Are the Frequency [Optical Delusion, London] Pugilist - Symbiosis [VA - Baroquism Vol. 1, Baroque Sunburst] Qant - C Thru [Moonsick, Submerged/Holding Hands] Qant - Cosmodrome [Moonsick, Submerged/Holding Hands] Qant - Moonsick [Moonsick, Submerged/Holding Hands] Roger Gerressen - Ängsälvor [VA - Into The Scandinavian Forest, Monument]

Rrose - A Row of Cylinders [Tulip Space, Eaux] Rrose - In Place of Matter [Tulip Space, Eaux] Rrose - Squared [Tulip Space, Eaux] Sam KDC - Dominion [VA - Limitation, Pi Electronics] Saphileaum - Interlingua [VA - Into The Scandinavian Forest, Monument] SØS Gunver Ryberg - Phosphorus Cycle [SPINE, Arterial]

Taro - Gas Burn (Flørist Remix)[VA - Baroquism Vol. 1, Baroque Sunburst] Tolouse Low Trax - Bianca from Rome [Leave Me Alone, Bureau B] Tolouse Low Trax - How to Beat the Sea [Leave Me Alone, Bureau B] Tolouse Low Trax - I Would Prefer Not To [Leave Me Alone, Bureau B] Tolouse Low Trax - Impure Nature [Leave Me Alone, Bureau B] Tolouse Low Trax - Non Giudicare [Leave Me Alone, Bureau B] Univac - Delta Resonance [MagnetFunk, 30D ExoPlanets] Univac - MagnetFunk [MagnetFunk, 30D ExoPlanets] Univac - Sample This [MagnetFunk, 30D ExoPlanets] Univac - Segunda Creación [MagnetFunk, 30D ExoPlanets] Viels - Distorted Realities [Distorted Reality, Dynamic Reflection] Viels - Eracly [Distorted Reality, Dynamic Reflection] Viels - Lives Circle [Distorted Reality, Dynamic Reflection]

Yushh - Look Mum No Hands [Look Mum No Hands, Wisdom Teeth] Yushh - Self Couscous [Look Mum No Hands, Wisdom Teeth]

[babyawacs]

@deutschland @bild @phoenix_de @berlin @hamburg @muenchen @stuttgart @frankfurt @ohghotttttthnichtkoelnohnnnnnn neien!!! @bonn @dw @sz #undsoerklaereichesmeinenkindern #nicht_fuer_spione_was_ist_der_mensch smashwords.com/books/view/ 552210 ".. .  jemals‎ sayhomersimpsoy als zombi i s t nicht was ich bin und meine sondern marsrakete voller suesser hoppelhaeschen: theme: shoot the bunnies: was missverstaendlich und hohles wiederholen ist das  sinnfreie ohne sinn  papageien  von dingen als zombi wennman als zombi etwas meint  dann m e i n t man aber sowas von aus dem was zombi automatismus meinte woa dieses karnickel ist aber sowas von aeh:  und innerhalb des themes macht das auch sinn das ist #keypoint automatismus ohne zu begreifen undoft total hohl sinnfrei papageien was andere i n t e r p r e t i e r e n und

@deutschland @bild @phoenix_de @berlin @hamburg @muenchen @stuttgart @frankfurt @ohghotttttthnichtkoelnohnnnnnnneien!!! @bonn @dw @sz #undsoerklaereichesmeinenkindern #nicht_fuer_spione_was_ist_der_mensch smashwords.com/books/view/ 552210 “.. . jemals sayhomersimpsoy als zombi i s t nicht was ich bin und meine sondern marsrakete voller suesser hoppelhaeschen: theme: shoot the bunnies: was…

[caprano]

Streiflicht

Fast alle sind fast immer unzufrieden. Das erzeugt Druck. Sagen jedenfalls die Unzufriedenen.

(SZ) Was eint die Deutschen in Ost und West, den Brandenburger AfD-Wähler und die Freiburger Grünen-Stadträtin, die Berliner Ohrringdesignerin und den Landshuter Schweinebauern, den Bautzener Rentner und die Starnberger Millionärstochter? Ganz richtig, sie alle sind, nicht dauernd, aber oft unzufrieden. Unzufrieden damit, dass es nicht so läuft, wie es soll, dass andere mehr haben als sie, mehr Geld, mehr Glück, mehr Freunde, mehr Insta-Follower, mehr Dirndl fürs Oktoberfest, mehr überhaupt. Mehr mehr. Unzufriedenheit ist der Geschmack dieses Jahrzehnts. Er wird privat und öffentlich verbreitet, Unzufriedene beherrschen die Talkshows, nörgeln auf den Kabarettbühnen, bevölkern die Buchmessen, wo unzufriedene Autorinnen mit unzufriedenen Feuilletonredakteuren über den nicht zufriedenstellenden Zustand des Privatlebens, der Arbeit und der Politik räsonieren. Nie ist die Apokalypse ganz fern. Allgemeines Übeldraufsein ist die Basis von Wahlentscheidungen, Weltverurteilungen und Selbstüberschätzung (viele Unzufriedene halten andere Unzufriedene für nicht nur nervig, sondern auch für doof).

Zur Grundausstattung dieser Welt der Unzufriedenheit gehört unbedingt das Wort „Druck“. Man liest und hört täglich Dutzende Male, dass jemand „unter Druck“ steht oder gesetzt wird, dass dies und das den Druck erhöht, dass jemand Druck ausübt oder jemand anders dem Druck kaum standhalten kann. Nun ist das gedankenlose Verwenden zu Tode gerittener Sprachbilder nicht schön, aber üblich. Sehr üblich ist es in einer Kultur, in der die Menschen so viel schreiben wie niemals zuvor (ins Telefon) und kaum jemals so wenig von dem gelesen haben, was sie nicht im Telefon finden. Als Unzufriedener könnte man sagen: Die Allgegenwart des schnell geschriebenen Digitalen setzt die Existenz des langsam Geschriebenen, des Buchs, unter Druck. Das Buch ist der Wind, der X-Post der Darmwind.

Allerdings: Wenn alle immer unter Druck stehen, eint sie das auch wieder – wie sie auch die Unzufriedenheit eint. So gesehen sind die Deutschen ein einig Volk von unter Druck befindlichen Unzufriedenen. Dies erklärt einerseits die jüngsten Wahlen in jenen Bundesländern, die wahrlich nicht mehr neu sind, sondern manchmal an Altes, überwunden Geglaubtes erinnern. Andererseits ist der Zustand der bedrückten Unzufriedenheit auch die Grundschwingung der Ampelkoalition: Drei miteinander Unzufriedene haben sich gefunden, obwohl sie sich nicht nur nicht gesucht haben, sondern die jeweils anderen auch für nervig und/oder für partiell doof halten. Man kann froh sein, dass das mit dem Druck nur ein fades Sprachbild ist. Wäre es eine Beschreibung der Wirklichkeit, müsste die Ampel und mit ihr manches andere längst wie ein überhitzter Dampfkessel in die Luft geflogen sein.

[cbelleschic]

Check out this listing I just added to my Poshmark closet: Rock & Republic Berlin Aztec Print Jeans Sz 6.

[clemencelaure]

Check out this listing I just added to my Poshmark closet: Liebeskind Berlin crosta Short Shaft Boots Sz 39.

[wort-schaetzchen-blog]

Rezension: "Junge Frau, am Fenster stehend, Abendlicht, blaues Kleid" von Alena Schröder

Alena Schröders Roman "Junge Frau, am Fenster stehend, Abendlicht, blaues Kleid" erzählt die Geschichte von Hannah, einer 27-jährigen Frau, die in Berlin lebt. Ihr Leben ändert sich drastisch, als sie einen Brief aus Israel erhält, der enthüllt, dass ihre Großmutter Evelyn die Erbin eines geraubten Kunstvermögens ist. Die Handlung erstreckt sich über vier Generationen und verknüpft die Schicksale der Frauen in Hannahs Familie mit einem verschollenen Gemälde.

Der Roman behandelt Themen wie die Auswirkungen von Krieg und Vertreibung, die Suche nach Identität und die Bedeutung von Familie. Besonders hervorzuheben ist die Verknüpfung der Geschichte eines geraubten Kunstwerks mit den persönlichen Geschichten der Protagonistinnen. Dies verleiht dem Roman eine zusätzliche historische Dimension und Tiefe.

Schröders Schreibstil ist flüssig und einfühlsam, was es dem Leser leicht macht, in die Geschichte einzutauchen. Die Autorin versteht es, die Emotionen und inneren Konflikte ihrer Charaktere authentisch darzustellen. Die Sprache ist klar und präzise, ohne dabei an Tiefe zu verlieren.

Die Charaktere sind vielschichtig und gut ausgearbeitet. Besonders Hannah und ihre Großmutter Evelyn stehen im Mittelpunkt der Erzählung. Hannahs Suche nach ihrer eigenen Identität und die Aufarbeitung der Familiengeschichte sind zentrale Themen des Romans. Evelyns Vergangenheit und ihre Entscheidungen werfen ein Licht auf die Herausforderungen und Erwartungen, denen Frauen in verschiedenen Epochen gegenüberstanden.

Alena Schröder, geboren 1979, ist eine deutsche Journalistin und Schriftstellerin. Sie hat Geschichte, Politikwissenschaft und Lateinamerikanistik in Berlin und San Diego studiert und die renommierte Henri-Nannen-Schule für Journalismus in Hamburg absolviert. Nach ihrem Studium arbeitete Schröder als Redakteurin bei der Zeitschrift Brigitte und ist heute als freie Journalistin tätig. Sie schreibt regelmäßig für Brigitte Woman, das SZ-Magazin, Die Zeit und andere renommierte Publikationen. Schröder ist auch bekannt für ihre Kolumne "Nackte Zahlen" im SZ-Magazin.

Ihr literarisches Debüt gab sie mit dem Buch "Wir sind bedient: 26 Frauen über harte Jobs und irre Kunden" im Jahr 2010. Ihr Roman "Junge Frau, am Fenster stehend, Abendlicht, blaues Kleid" wurde ein großer Erfolg und stand auf der Spiegel-Bestsellerliste. Schröder lebt mit ihrem Mann und zwei Söhnen in Berlin und ist Mitgründerin des PEN Berlin.

[dsmallwood375]

Check out this listing I just added to my Poshmark closet: Go Green Berlin Leather Sandals Made in Spain SZ 40.

[autopsiaband]

Con un GRAN honor, les compartimos la primera parte del brutal programa de cine con @embryoroom, documentando a nuestros héroes del underground y experimental.

Para presentar un trabajo histórico, se secciona en tres increíbles facetas:

#EmbryogalleryFilmFestival tendrá premieres mexicanas en forma de videos musicales, cortometraje y mediometraje de artistas como Mika Vainio (Pan Sonic), Hector Pràts, Sophie Feuer, Alex Rutterford, Autechre (!) y controversialmente, Bruce la Bruce con obras proyectadas por primera vez en Latinoamérica.

Acompaña a una selección de los trabajos más destacados de 25 años de filmografía, colaboración de Edward Quist para los 10 años de OTONO.

Arrancamos con las siguientes obras:

Videos Musicales:

- Dark Morph "Dark Wave" - Jamie Lawson "Ginnel Dandy" - Sz Berlin ± Panic "Degeneracija [TEV-24]" - Schneider TM “iBot (With a soul)” - Shredded Nerve "First, Second, and Third Exposure” - Bad Breeding "Idolatry" - AutopsiA "Fragment_11" - AutopsiA "Fragment_7" - Embryoroom feat. Non Et Decima "Holocaust Yesterday"

Cortometrajes:

- Shadow Runner & Black Asteroid "Don't eat the cheese!" - Nathan Tamaki "Dance of the weeping willows" - Non Films "Dull Hope" - Non Films “Unborn Rivers of sky” - 51717 "Stay Asleep Longer" - John Duncan "Decadence" (!!) Alex Rutterford / Autechre "Gantz Graf" (!!!)

Mediometrajes y Largometrajes:

- Sophia Feuer “Space Lady” - Pan Sonic "Kuvaputki" [fragmento] - Mika Vainio: “Triode” [fragmento] - Hector Prats “Heaven is Nobody's“ - Edward Quist, “The Future is Dead” [fragmento] - Bruce LaBruce, "Distortions" [fragmento]

— Jueves 21 de Noviembre, 4pm Faro Cosmos @ Calzada México Tacuba Cerca de Normal y San Cosme CDMX. Entrada libre

Impactante selección para ir calentando motores en este Aniversario de 10 años de trabajo de Otono y más de 25 años de Embryoroom, colaborando con múltiples pionerxs de la electrónica experimental, noise y vanguardia en audiovisuales transmedia.

¡...Valdrá la pena llegar temprano!

[marianna-liosi]

Xposures is a two-day open-air exhibition and program of performances taking place in and around the garden of the Kulturhaus Schwartzsche Villa in Steglitz. The project highlights the power of collective actions in sensitising communities and propelling new ideals, as well as in protecting, questioning, and reappropriating the public domain (both urban and natural). Simultaneously, Xposures reflects upon the politics of exhibiting, and pro- cesses of re-negotiating narratives and legacies that such practices activate.

Ten emerging artists based in Berlin – from the Global South, Europe, Asia – are invited to deve- lop a rich program of site-specific interventions. The artists have been inspired by, or respond to through their individual works, the history of Schwartzsche Villa as a place of art and culture in Steglitz, the cultural heritage of the Wander- vögel archive, and the highly debated issue of the preservation of sites of former Nazi forced labour camps in Berlin, as well as the stories of inma- tes who were imprisoned. Within this framework, strategies of exhibiting, the related emotional implications, and the disclosure of underdiscussed problematic pasts are highlighted and questioned. Exhibiting creates scenarios. As performance stu- dies scholar Diana Taylor (2003) claims, scenari- os, like narratives, ‘with their own classifica- tions, categories, themes, forms and characters (...) grab the body and insert it into a frame’ (Taylor, 2003, 55) and thus place ‘the spectators within its frame, implicating us in its ethics and politics’ (Ibid., 33). Simultaneously, exhibiting itself implies the intention to unveil something, in the sense of revealing experiences, perspecti- ves, or stories. It also embeds an act of (self-) exposure – a process in which vulnerabilities and emotions are disclosed, shared and offered to ot- hers. In that sense, the ways in which objects – such as artworks, testimonies, and archives – are displayed in exhibitions, and even how bodies per- form in collective gatherings, demonstrations, and public circumstances, become political gestures of positioning.

The leading inquiries of the exhibition are: What role does the act of exhibiting (and therefore also exhibitions themselves) play in negotiating and claiming the existence and the acknowledgement of a plurality of legacies? In what ways does the exposure of bodies, archives, and emotions trigger processes of rehabilitation that involve not only artists, but also spectators?

The commissioned video and sound installations, sculptures, performances, and participatory art- works explore in various ways the politics of re- presentation of bodies, the need of decolonising memory, and the debated issue of whose legacy is transmitted through exhibitions, public memorials, repositories, visible traces in urban and digital spaces, and consequently which voices can be heard. Furthermore, the artworks reflect upon and the se- veral modes of participation of people in the com- munity life, through various forms of activisms, occupations, and mutual care. In that sense, play- ing with practices of inhabiting public and private spaces, and questioning architectures and bodies as borders between the inner and the outside, the artworks will be displayed in, and will create dialog with, the garden of Kulturhaus Schwartzsche Villa, as well as liminal spaces of the building itself (the atrium, balcony, and staircases).

Xposures is funded by Draußenstadt Fonds, SZ.

Diana Taylor (2003), The archive and the Repertoire. Performing Cultural Memories in the Americas, Duke University Press.

@xposures_openairexhibition

Photo credit: Jeremy Knowles