If they do not come to us, let's go, "said Jorg Hartmann with his classmate, and they left for the capital.
We are in 1993, the young Jörg Hartmann attends the Stuttgart Theater School, but casting agents and directors of the big stages prefer to look for young talents at the Otto Falckenberg School of Munich or at "Ernst Busch "in Berlin. Hartmann dreams of Schaubühne, Peter Stein and Edith Clever's theater, Angela Winkler and Otto Sander. So they surround the theater of the Lehniner Platz – and who sits in the "Ciao", the Italian, where do the directors and colleagues work? Andrea Breth, the director of Schaubühnen.
Jörg Hartmann, black T-shirt, black jeans, lowers his head and voice at this stage of history, stretches the vowels, pulls on an imaginary cigarette. For a moment, he transforms himself into Breth's imposing figure, to imitate once again the nervous student.
"Mrs Breth, we are students from Stuttgart, we would like to audition." Breth said in a deep voice, "Look, the gentlemen with whom I am sitting here are my parents, and I see them very seldom.They go straight to the point of view, and be at the door at eight o'clock. "
When he answers questions, Jörg Hartmann tells stories. And when he tells, he plays: memories, others, his own mood-mama. A single theater man, two o'clock this morning at the corner table next to the kitchen in the "Café Heider" in Potsdam, just in front of the Nauener Tor.
Depressed, grumpy, biting
Jörg Hartmann, the commissioner devoid of "crime scene", the crumpled parka bearer, emotionally breaks the furniture and still plays the act, as well as his life now. Chief Inspector Peter Faber, hands in pockets, grumpy replies, scathing humor. A "mixture of jester and psychopath" wrote the "SAF".
For his second starring TV role in the series "Weissensee", he received the Golden Camera in 2016. The jury called his nasty general of the Stasi, Falk Kupfer "of" abyssal monster, full of cold blood and yet irresistibly attractive " Hartmann never betrayed or distanced himself from him, no, he believed in his faith in socialism and defended it without concealing the brutality, the betrayal of the family.
He lives here in Potsdam with his partner and his children. He loves historical architecture, participated in the fundraising for the restoration of the church of Peace – he does not appreciate the modern era, he was seen in February as the architect Walter Gropius in the film good-btp.com Bauhaus and a Wassily chair bought by Marcel Breuer! Just Peace Church, now Breuer: Jörg Hartmann is a virtuoso association.
He reacts to each remark as quickly as lightning, Hartmann comes out, effortlessly changes dialects and idioms, key and vocabulary, depth and flatness.
Anyone sitting in front of Jörg Hartmann and who is experiencing an entertaining improvisational theater inevitably becomes an audience.
The camera, he says, is sexy in some ways. "I like to know that she sees everything and that sound means everything." The camera provokes it, not only to claim. She approaches dangerously from him, the spectator sees each pore.
"Ready to go on the set"
It's crucial: he believes himself, what he's playing.
For example, at the last "crime scene", "Inferno", when Inspector Faber visits the murderer, psychologist and hospital guru, in the mistaken hope, among other things to cure him of his sorrow. Then it collapses again, in close-up. "There you are naked and the others are watching, it may be late, the team wants to go home and there is no time for just 22 days of filming." But you have a This was the paradox of his job: "We must have the impression that we do not conceive anything, we always conceive it."
He turned fifty in June and at the age of 30, he went to Schaubühne. Although in a roundabout way, which will be discussed later. He was a member of the ensemble for ten years, until the film moved to the center in 2009, and he also wanted more time for the daughter of his first marriage, who is now 16 years old.
"When you watch TV, you have to go to the set, ready to pan, which has the advantage of being more independent.In the theater, we repeat for weeks and we never stop." is a different intensity. Without a whole, something was missing.
Thus, since 2016, he is back, celebrated as "Professor Bernhardi", jovial doctor, slightly ironic, who thinks himself safe and whose reputation does not protect him in the end of the exclusion and anti-Semitic resentment. At the Salzburg Festival, he returned to the stage in late July, still under the direction of Schaubühne's director, Thomas Ostermeier: as an unnamed teacher in the Nazi play of Ödon von Horvath "Jugend ohne Gott". Also an article on the brutalization of a society. September 7th is the first in Berlin.
They dress on the open stage
How does evil come into the world? In "Youth without God", Hartmann is dressed every day in the parquet, gets on stage and reads the text of a Hitlerite admirer, a letter of love to the chef. "People should think calmly: what is the Commissioner doing" Scene of the Crime "? Has he become Afldler? Does the play start now? Hello, can I have a little more light on stage? do I owe it to Adolf Hitler? "It's easy to answer this question in one word.
Hartmann also plays this scene in the café, gradually transforming the actor into a character. They disguise it on the open stage, the reading sinks in the scene, the scene sinks in the epic, the viewer must slip imperceptibly into this totalitarian world. It is not today, but it is not so different. As a theatrical mooring, they wanted it: Ostermeier, the playwright Florian Borchmeyer and Hartmann.
Jörg Hartmann likes to do this, work on the piece and in dialogue, some "Tatort" sentences come from him. It's not an executive body! When director Friedemann Fromm wrote about the fourth season "Weissensee", they quickly agreed that Stasi Major Kupfer was to bless the passing of time. After the gunshot wound, the wheelchair, the new love – the scene in which Hartmann trains to walk, pushing up the bar to Jördis Triebel and, for lack of it, his silhouette condenses in one moment: the attempt of purification of an offender, the failure of an existence.
The question of whether they replace the word N Horvath by "Africans," they argued. About racism and the prohibition of languages, identity politics and iconoclasm.
He is in demand since MeToo
What motivates the teacher of Horvath, motivates Jörg Hartmann: the question of when an attitude manifests itself or not. The professor is a humanist and an opportunist, he is guilty, he is not a hero. "Which of us is a hero do you like?", Asks Hartmann. He is afraid of elections in Brandenburg, of the growing division of society, divisions between groups, circles and, since MeToo, men and women. All the conflicts he faces, even in his work.
In the theater, he is also concerned with the ambivalence of demand and pressure, power and abuse. Silvia Medina, the mother of her youngest children, is also an actress. He has been in demand since MeToo, along with his colleagues, became more sensitive and always says "stop" if a bad and hurtful sound is emitted during the rehearsal. "Even if there is nothing more feudal than what the theater and the whitening of consensus bring little to the first: it is not that we negotiate on the scene of totalitarian structures or exploits of things like racism or sexism and at the same time people with the power of their positions! "
Ruhrpott, Westphalia, here he comes. He loves the region until today, people, because they are sociable, energetic and noisy and that joke is not as aggressive as in Berlin. He was born in Hagen, son of a turner and a saleswoman. In Herdecke, he went to school. The mayor of Dortmund demanded his dismissal as Commissioner of the crime scene, at the beginning of the year, because of image problems for the city. Hartmann went on the offensive and offered to accompany him to drink a delicious Pilsken, the date is still outstanding.
Lawyer, Judge, Commissioner, Major
As a child, he had been rather shy. This changed during the Baltic leisure time with the parents and the father's youth handball troupe. Little Jörg drew wildly, watching the life of the other. One night there was a party. Suddenly, the boy seized. He was seven or eight years old, the two-meter guy from A youth and started dancing with him.
Hartmann still does not know why. Arms stretched horizontally, twice to the right, twice to the left, a slight shrug of the shoulders, only this little mischievous movement in an endless loop. He had probably seen it in the show "Tom & Jerry", in the interlude of the dancing ghost of the cartoon. Huge success.
From that moment on, Jörg was the comedian of the Theater-AG, the Gymnasium's cabaret, the amateur ensemble of the Stiftmarkttheater. At the premiere of "Our Little Town" of Thornton Wilder, shortly after graduation, he decided not to study biology and save the world, but to enroll in schools. Drama. The game instinct was bigger.
What got him in Stuttgart a complaint from the director: Jörg, you're still outside. "That made me storm, I thought, I'm going to show it to him." It worked, now I still have character roles and no one believes that I can also do it. "Body work, slapstick .
Lawyer, judge, commissioner, major, all respects, where is the clown? The desire is still there, says Hartmann, and marks the Rampensau breathless. Actors create identities, he says. But identities not identical, ambivalent. That of a teacher who thinks well and leads people to death. A melancholy who drinks from time to time. A Stasi delinquent who arouses pity.
"So I say, if you like Thomas, stay down."
In particular Thomas Ostermeier, who actually wanted to get rid of the newcomer in general, when he became director of Schaubühne, because he had brought his own people from the barracks of the German theater. The most important director of Hartmann should be – especially Ostermeier is considered a perfectionist. Like someone who likes to kick the team. Hartmann opposes it, "it does not stop repeating, even if no one can do more.Or when he wants to hear a movement in a specific way and jump on the scene, so I say, if you like Thomas, stay down. "
Hartmann, the actor of the character who reads "the identity" of Francis Fukuyama in his free time, and Reni Eddo's housing "Why I do not talk about skin color to whites" because of the word N , is one side. The other is the artist. He only calls Ostermeier at the time as a miniature farce for the best, with a slight Näseln. "Yeah, how are you, you do not want to stay, I'll also have a role to play now." A laconic caricature of gratitude.
And how did things go with Andrea Breth and the Stuttgart Greenhorns?
The answer turns Hartmann into a boulevard comedy with perfect timing. Breth, who picks up the key from the rehearsal room, starts smoking again. Breth: If you're bad, I'll kick you out. They work for two and a half hours, there are homework. "Do that, Clavigo." Do you know the staging of Kortner, with Thomas Holtzmann and Rolf Boysen? "Back in Stuttgart, the boyfriend makes a recording, not easy before the internet, and they think that Holtzmann has to repeat with them, or boysen, so go to Munich for the Kammerspiele.
It was the death penalty
Follow an act in one act with a rasp-bass ("Ah, Breth, call Rolf, I have to go to Hamburg.") And the stage of the phone booth. Hartmann in the cell, Boysen on the other end, with the advice: "Do only what you can answer."
Last act, back to Berlin. Hartmann, only in a silly role, catches a Mettbrötchen, capricious, instead of just biting. huge mistake. In "Clavigo" comes Ulrich Matthes. Breth: "I do not see a biography, Ulli, do you see a biography?" Now, Hartmann plays both in change, boss and Matthes. It was not funny for the students, it was the death sentence.
Jörg Hartmann went to Meiningen for the first time for two years in 1994. A Wessi to the east. His first wife is from Leipzig. Until now, Hartmann lives in the East and works on the Kurfürstendamm. Another ambivalence.
Hartmann made his debut at Schaubühne at the time: a comedy. Biljana Srbljanovics "Supermarket" although flopped, because the play was published shortly after 9/11 and people burst out laughing. But then "Nora" with Anne Tismer and "Hedda Gabler" with Katharina Schüttler, the rest is the history of the theater. Jörg Hartmann was on the scene 280 times as a lawyer, Torwald Helmer, in "Nora".
And what does he do after 25 years of work before the performance, does he have a ritual? Well, you have to take the children out of the daycare, then Bambule is at home, I have to go to Schaubühne, via Avus, "it's my tunnel, it's the road." Striking body awake. "It sounds esoteric, but it is not, I bless the scene Yes, yes, for the stage, for colleagues, for me, three times."