your name we read in the last time, rarely, or not at all, neither in a Berlin acting Ensemble as a cabaret performer with songs of their discoverer Hanns Eisler-Gisela May was always somehow present, but then all of a sudden. Who his whole life long part of the Berlin theatre scene, and the tone of voice, expression, Intonation, and broadcasting of non-extinguishing and unforgettable evenings away, will be missed, simple as that. And now all those who had mourned. Because Gisela May died Friday morning at the age of 92 years.
brings back memories: You can suddenly see again, how she pulls the cart of Courage the thirty years ‘ war. And listening to Brecht: “The spring comes. Wake up, you Christian! The snow melts away. The dead rest. And what has not died yet, it makes the socks now." A bomb role in an anti-war piece, today still, unfortunately, relevant again. Previously, Therese Giehse, and Helene Weigel had played the piece of the world famous, now the May. Quite different. Harsh, brittle, proud.
The singing actress was hardly attaches to certain types of Interpretation, on the contrary. Her Talent was exhausted, not only as an actress, but for many years, in the case of chanson evenings with you through the whole, undivided world. “May” was for the DDR something like Katharina Witt in sports: Ambassador of a country, the laborious recognition of rank. The singers Theo Adam, Peter Schreier, the choir, the conductor Kurt Masur and the trumpeter Ludwig Güttler in this series. The state thanked Gisela May, in his own way. He gave her three Times the national prize for art and literature, and also the star of friendship of peoples, the new Republic, in which they had prior to ’89 the singer as a “socialist Nightingale” is referred to, hung, your, 2004, the Federal cross of merit 1. Class around the neck.
she sang his songs and came only after Brecht’s death, the Berliner Ensemble
Perhaps, no, likely, wore it on the genes: she was born in 1924 in Wetzlar, was the mother of Kate actress, and father Ferdinand May writer. 18 visited Gisela May, for two years drama school in Leipzig, and had Engagements at several theaters and came in 1951, at the Deutsches Theater Berlin. Work with Brecht was, first, as the great B. B. was already on the dorotheenstädtischer Friedhof, a cemetery, moved the actress to the LOADING to Helene Weigel – and remained there for 30 years. Speaking Of Brecht. As Gisela May recalled that she had met him once, and his glance, I saw that you could win him nothing. “Brecht was more on the strong rural women, not wearing make-up.” You May, but was not without make-up and “always nice”. Private, charming, clever, cosmopolitan conversationalist. Or in the many roles that you had on it: song evenings with Weill/Brecht, Kästner, Tucholsky, Mehring, Hacks. Even a fling on the stage of the Metropol theatre was so much fun. There was the Musical “Hello, Dolly!” Old Satchmo would have had his joy.
ten years Ago, Gisela May was awarded the endowed chanson prize at the Federal competition vocals, the 21-year-old from Munich, Sophie Berner, who played Sally Bowles in “Cabaret”. “In this profession, luck plays a big role,” said the Junior, “but you have to find your own line. And the passion to preserve." Gisela May has done that, too, as she was a cult figure – in the case of “Adelheid and her murderers” on the TV with Evelyn Hamann. (“Don’t say always Muddi to me!” “Is right, Muddi”).
her biggest role was perhaps in the Drama of your Partner, the system-critical philosopher Wolfgang Harich. The GDR pursued him up in jail. She remained at his side.
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