Ein the face. From the bottom of the newspaper edge to the top, and in the middle of two giant points. Two the viewer with penetrating eyes, questioning, knowing. To lips: wide, sexy, repellent. With mockery in the corner of the mouth. A truly sublime face: wide awake and yet strangely of fatigue umhaucht. Strict and gentle at the same time. One Irritation, this White from the usual kind of blow at the end of the title sheet of the GDR-television magazines, the we once – still in Black and on the wall were pinning. And after decades in the brain. It is a role photo: Inge Keller in 1962 as Goethe’s Iphigenia in Berlin, the German theatre.
the basement was their “Iphigenia anecdote” for the Best: she wanted to finally be “ready theoretically,” had studied “plenty of literature”. On the sample, then with Director Wolfgang Langhoff, they played “ready”, there was “enormous”. However, Langhoff took her aside and whispered: “Oh, Lngelein, but again, stupid.” ‑ “Well, I games. Nothing more," she said to the very non-theoretical; with a pointed undertone. On Monday now Inge Keller passed away in Berlin.
Who ever heard her voice, she never forgets. The other day, for example, with a Text by Stefan Zweig. Or, still on the verge of 90. Birthday to the 70. Stage anniversary, with a monologue by Christoph Hein about Tilla Durieux. A harmless anecdotes, chit-chat, from the cellar in statuary accounting (two broken hips), and life-wise nonchalance unfathomable primed. Framed by a age subtly ironic speech slowness: the consonants, bright and sharp, the vowels are soft and dark. Large tongue and the larynx of art. She was a huge Formerin. This last Diva old high school.
Never feel too much, never too much of a mind
“Here is the Countess of the German Democratic Republic,” so it has, the Berlin entrepreneur daughter Born in 1923, once used for years on the phone reported. The basement as a walking anachronism. As ladylike type, whose external Cool covers is a flammable temper, even as a tragic actress. Your Goethe-Iphigenia was considered the summit “maintained by a stylized” Form. And the final point was at the same time. From then on, the style of impressionist interpretation accuracy occurred in the Background, with the help of the cellar was large, and the large player (Emilia in “Othello”, Goneril in “Lear”).
Also on the DT advanced Directors “creativity” of a character, their “sociological structure” in the center. What you can, and with the Theater to make it all the more important as the emphatic soul of realism. The time went on the duty aristocrat, the virtuoso of the getüftelten shape of the inner voted one. She was regarded as a difficult and fallen out of time. And stand for more than a decade on the DT-content list, but not on the stage. Serious Crisis!
Inge Keller at the Berliner Ensemble in Robert Wilson’s piece, “Shakespeare’s sonnets”
source: picture-alliance/ dpa
in 1980, with Director Alexander Long, came the turning point: His Coup: He occupied the Endfünfzigerin sensational way, as Danton’s beloved Julie in “Danton’s death” by Georg Büchner: Julie as a refuge for Danton, as a bronze, sovereign counterpoint to the vibrant, child sensuality of the harlot Marion. The cellar was there again! “I played stop,” she tersely to the Protocol. “Not with too much feeling, not too much mind.” Sounds simple, but it is difficult to make. “And not without craft, without a concentration on the poet’s word.” In the subjection of the seal – the seal, she says, that’s not the “most beautiful victory of the game”.
an Otherworldly eternity figure
the times of the GDR was Inge Keller is a Privileged, for a time, married to the leading COMMUNIST propagandist, Karl-Eduard von Schnitzler. Her luxurious life, she, the nobly Imperious, socialist Ideals. Didn’t fit right to piefigen country, the cruel reality took, you never quite true, what she confessed in retrospect contrite. “The extrusion machine has a working time of my life. At the end she left me broken. Auschwitz and Stalin, is that life too much. Who doesn’t lose their minds, no."
Inge Keller had Begun to arise from the middle-class West Berlin, in your home town. The remained the center of her career. The debut was in 1942 in the theatre on Kurfürstendamm as Eliza Doolittle in Shaw’s “Pygmalion”. However, their triumphs should celebrate the cellar in the East of the divided city. With the German reunification, it became a universally celebrated Star, in the capital theatre. Since the 1950′s, Inge Keller belonged to the Ensemble of the Deutsches theater, was, in spite of the said difficulties, that “a Stradivari the same ends, the most beautiful house in the world”, your large roles like star home virtuous maid, Elsbeth Krull, molière’s Elmire, or Mrs Alving in Ibsen’s “ghosts”.
After 1990, fascinated as the sublime grumpy-cynical Zachanassian in dürrenmatt’s “besuch der alten Dame”. And in an almost marble archaic in Ulrich Mühes Heiner Müller’s staging of “The order” or in the artificially massive productions by Einar Schleef, Robert Wilson, Michael Thalheimer, in his “Faust” translated “eternity figure”.
With great difficulty
With all the uncompromising will to shape the basement was never smooth. As a Prussian, Correct, hard-working artist – so your self-image – your nuanced character drawings even more extreme characters. And gave her own grandeur all its representations is something admired, but nowadays, but dismissed as old-fashioned is: Noblesse. Max Reinhardt’s magic word from “Shine”, without the Theater of any kind was nothing, that she has internalized. In the case of all breakages: It is your being.
“The world is out of joint, and I sit in the Warm. I would be so happy," she said, when she was seventy. But Remember your is hell, no Paradise, she complained to the last. “The heavy, lonely old age” associated with too much necromancy. She struggled with the thought of what had destroyed her own “damn absolutism,” everything in life, she confessed with a quiet bitterness in her fine home, with a panoramic window to the Green between Berlin-Niederschönhausen, which they inhabited since 1961. And that was in the blessed memory of Iphigenia to her “Tauris”.
“The total dependence of everything and everyone is Terrible in my profession.” But the A was still Everything to her, without regard to losses, such as friendship, romance, love, family idyll. All you’ve “never really”. – “Deficits!” ‑ “My true life has played only on the stage. That was my place to Survive. Life was out there for me, always just a sham," she confessed to us once, beyond the Eighty, quiet with a view into the Void. Perhaps the cheesy Opera set “, Only the art dedicates’ I was my life” carved in stone the Motto of Inge Keller. And in precious wood drawer verkramt on “Tauris”, at the very back, in the GDR national prize, first class, and the order of merit of the Federal Land of Berlin.
The rarely tired of making fame meant a lot to her – and little at the same time. “Yes, this madness can be crazy.” The basement has him, of us, and seen from the outside, the king stood by. A triumphant life, a tragic umflort. “Only with toil and endure Hardship.” Now’s done. Inge Keller was 93 years old.
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