What is Grashof's law

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Words for Christian Grashof

on the occasion of his honorary membership, Deutsches Theater by Hans-Dieter Schütt
The Deutsches Theater is high level. High levels are small. So: crowd. Boards of honor are also: high levels. Are also small. So also: crowd. Not everyone fits on it, and not everyone who gets it fits everyone. Such a board is a boxing ring like the stage.
What does the name Christian Grashof stand for? Quite simply: for a very special character. This highlighted in the face of the truth that talent is something that need not necessarily thrive near character.
Grashof and the German Theater. Yes, Gotscheff and Gosch and Kimmig and Panteleev. But first and foremost there was the era of Alexander Lang, the time of Friedo Solter, the time of Thomas Langhoff - Grashof stands for strength and alertness, to live between these considerable artistic contradictions, even incompatibilities, and in that: to be very own - and to stay.
The legendary "Unleashed Wotan" took place in this foyer decades ago. The expressive, even expressionistic style of playing brought Lang and Grashof, here in the house, the charge of a "puppet and gymnastics theater" - which was meant to be politically denouncing. What caused a sensation actually didn't work at all in the hallowed halls. Quote from Grashof: "Some pretended to be dirtying the steppes of a cathedral."
Beaumarchais. The dump trucks. And Tasso. The one above all. A glowing glow of a person leading to the most believable sentence of this phenomenon: "... a god says how I suffer." In a world that has its iron law: If you want to reach someone's heart, you have to break it.
There was finally the role that suddenly made the young, as yet unnoticed stranger from Karl-Marx-Stadt an event in this top-class ensemble. Tasso: the high so unexpectedly earthly, the noble so provocatively miserable. This Tasso paid for the wonderful thing about Goethe in cash: with wounds.
Fugard's "Insel", Müller "Philoktet", Grabbe's "Gothland". The body is not a representative of this actor. I think Grashof despises all pride and humility role-playing games. His game defends itself against the disempowerment of the body, and that's what someone of all people does who was said early on that he could not do all of this, that he was too delicate. Grashof's technique looks for the point where consciousness and unconsciousness meet with the body.
His game, if one can now formulate a bit rough in a shortage of time, is the surrender of all organic, curved shapes - he gives back their dignity to individual body parts, which they lost in the naturalism of psychologies. The jolt that goes through body is its type of movement. The rumor, which combines the rearing up with the fluffing up, forms its shapes. The identity of the true athlete is not the healthy but the broken body. The story of the horizon is written by those who get sick on the fence. Ask the loneliest what love is.
Medea. Dance of death. Death of a traveling salesman. Grashof is also a funny person in everything, so a real tragedy: because the core of every joke is the catastrophe. The poet Volker Braun named what strikes him so wonderful about this actor: "... when your voice laughs tremblingly in the most excited sentences". The comedian is a person who, like all people, suffers. But he betrays suffering in laughter. With soft banana peel against the hard core of what is. There we have the misery AND the splendor of every practice of art, of every life. Grashof is someone who loves to play the AND. Right up to the limits of silliness and exaggeration. At some point there is something with the eyes. Oh, only the make-up is smeared, the actor will defiantly assure you. Because he doesn't want to see and neither should we see that there could be tears over all the madness in the world.
Go through the roles of this actor and you will find all that is described. The madness and carelessness of the comedian's life. Sometimes a case for psychological diagnoses, sometimes for the veterinarians among the theater makers: the monkey and plenty of sugar.
Christoph Heins Ah Q. Azdak. Lessing's Mellefont. With the actor, imitation becomes creation at some point. There we have it, the mixture of nature and God. The jugglers as the ideal person. Christian Grashof is an actor who has never forgotten where he comes from, and he has never been the victim of overconfidence that learned texts are his own texts. The own - again we are at this core word - that is: one's own body, which can also think, which also invents its special text, and whose alphabet is the wide-open eyes and the tense muscles, the smile and the stretching of the neck, the Bent shoulders and the searching fingers, the nervous leg or the arched back, a snort or a twitch. Aura is used to describe what no one can prove, but everyone can judge.
Horribilicribifax. Brecht's round and pointed heads. Uncle Vanya. Grashof can bring closeness and distance to a level in which pathos appears as well as its refraction. I don't think he's missing any old work. Old work sounds like a big point that you put again. He set his big points a little earlier. But he doesn't want to stop. What has remained young is the desire to keep playing. In a conversation he said: "Let's see what is still possible. But I no longer jump two fifty high, but only thirty centimeters. Whereby it is clear: Even the claimed two fifty were always an imaginary height."
Pozzo. Ruges "In Times of Waning Light". Judith Herzberg's "About Life". The later roles, and if a late work, then that likewise young-at-heart ethic, which always belongs on boards on which honor also means a warning. Because: Unfortunately, the theater industry seems to have less and less a feeling for being careful with itself. Lack of time, speed, quantity, variety, quota, consumability, market, success, accounting, marketing - these are some of the terms that characterize destruction. You know all of this is necessary. But another, ancient thing remains decisive: the meeting of people between whom there is contact. Theater turns out to be good when the audience feels that those up there on stage were very close when they tried. There is no better way to say what an ensemble is. In this sense, in the best sense of the word, Christian Grashof is an ensemble player. There doesn't always have to be royal performances, this feeling for side entrances and side exits is important, a feeling for the heightening that can lie in moments of joint work. Grashof's creed. He thinks in constellations. He's never been a solo entertainer. I don't remember any solo evenings. He likes the troupe at the theater.
Shakespeare's note. Shakespeare's fool. Shakespeare's Lear. Christian Grashof has always been immune to the specific dangers of a cult-hungry mime aura; he is too down-to-earth for that, above all he lacks the necessary amount of stupidity for this rampant way of life. He has always retained the fine demeanor of the lower districts, where modesty remains a social precaution. Self-esteem is driven by the ability to be most careful exactly where success shines.
Danton / Robespierre. Gundling. Ostrowski's Gennady. In previous years, when asked about an ideal, he would name Charlie Chaplin. A little man in this far too big world where you automatically get lonely. But his loneliness also has its pride: Hey, I'm an outsider, who is more ?! Jürgen Flimm called him "an old-fashioned pirouette turner." Christine Schorn said: "The character he plays - he wants to be it - and wants to see it. Be inside and have a look outside. This slightly perverse is what makes our job so painful and so beautiful. He seeks and seeks, and that's why a performance with him can take ten minutes longer. "
What such a laudation shouldn't presume. Congratulations, Christian Grashof.