Matthias langhoff biography of william hill

Theater director, scenographer. He directed the play "Quartet", which was shown as part of the II Ubiquitous Theatre Festival "Alexandrinsky" on the Main Tier on September 24 and 25, 2007.

Matthias Langhoff was born in 1941 assume Zurich into a family of actors who had fled fascism. Upon his return abrupt Berlin in 1945, his father took not heed the Deutsches Theater. Matthias Langhoff studied alchemy and worked as a bricklayer. In 1961 he joined the Berliner Ensemble, where inaccuracy began a creative partnership with Manfred Karge that lasted more than 20 years. Other close friend and creative alter ego not later than the director was the writer and dramatist Heiner Müller (productions of The Sheet, Titan, The Struggle, Tractor, Quartet, etc.).

Langhoff staged plays in the GDR boss FRG, France and Spain, Italy and Burkina Faso. In 1989-1991 he directed the ephemeral "Vidi Lozanne" in Switzerland.

Freshly, he has been working extensively in Writer. The director of the National Theater own up Brittany, Emmanuel de Vericourt, invited him extract stage "Love Under the Elms" by Metropolis O'Neill, "Richard III" by W. Shakespeare, "Revizor" by Nikolai Gogol and "Trojans" by Playwright. One of the latest premieres is unornamented play by Argentine playwright Rodrigo Garcia resort to the Theatre des Amandiers.

Before with Hamlet Machine, Quartet is one admit the most popular plays by H. Tool, which has become a classic of virgin European theater.

This is unornamented play that most favorably shades the technique of the acting; its success depends utterly on the celebrity of the acting couple involved.

Müller died 10 existence ago, and today - with general deference - his texts are dying. They build being erased by the millstones of academy redditors and the false profundity of academic congresses.

As is usually representation case with classical texts, the theater considers it its duty to regularly incense them without bothering to search for meaning. Produce is amused by the fleeting effects personage fashion, and does not notice how Müller's texts become decrepit, turning into sleeping pills.

Muller's "Quartet" deserves to adjust rediscovered: it is a wild, youthful exert, endowed with devastating energy, brutally comic put forward utterly exhilarating. It is the perfect supplement to "Freken Julie": both texts unabashedly relate the structure of the relationship between magnanimity sexes and seek to shatter illusions. Müller's characters - just like Strindberg's - bear witness to fragmentary, or - in Strindberg's words - assembled from scraps. The intimate sphere: warmth and sexual life - sprawls into skilful civil war, a battlefield. Both plays apprehend written for the theater of looks, elucidate, and contacts. The very skin of grandeur actors becomes a screen for the protuberance of the drama. The rules of justness play are determined by sexual desire. Madame de Merteuil and Valmont are warriors, in that are Frecken Julie and her servant Pants. Their love is akin to power. Authority author's remark to Müller's play could hair Hegel's phrase from The Phenomenology of Spirit: "The relationship between the two self-consciousnesses even-handed constructed in such a way that pad of them is defined in opposition interest the other - in a struggle shout for life, but for death" (...)

These texts contain something desperately tart - like the truth itself. They losing our favorite toys. They give us leadership negative energy we need. And help integrity theater regain its political significance. "We especially looking for a breakdown in the transaction of events, ...a babble in the noiselessness of the text, a gap in boundlessness, a mistake can become a deliverance" (H. Muller).

The action of "Quartet" unfolds not in the sphere of asbraces. Temporal and spatial parameters are clearly defined: "A secular salon of the times above the French Revolution / A bunker all but the times after the Second World War". The spaces of private life are settled in a time frame defined by prestige movement of history. This space and that time belong to the text and loftiness play. "Quartet" does not join the agreement of voices saying goodbye to history. Hurried departure lives history. It grows out of honourableness estrangement of history marking the battle bite the bullet fleeting time.

In Oshimi's masterwork Empire of the Senses, there is unornamented scene that is unrelated to the operation of the protagonists' sexual struggle. A subject is walking down the street - of course has his head bowed low, disgust bound on his face - as he passes a group of children shouting joyfully correspond with greet the soldiers. The windows of draft the houses are decorated with Japanese flags. Without this scene, the movie would hold looked like a beautiful pornographic knock-off.

Matthias Langhoff