Review: Playing a new radio in the Radio & Audio Library – Media

“To say without mercy, without shame, what never was. Feel alive. Because you can’t find it.” Eva-Maria Alves created an entire 75-minute radio play around this thought expressed by one of her characters: 90th birthday. A company of present and absent gathers around the celebrant. People talk to each other, to each other, and, above all, to each other. The characters view age as a blessing because it gives them a sprite-like quality, quirkiness, and freedom of imagination.

But no one should underestimate it. In general, they retain their wits, and in doing so they make some of the offspring who are there because of kinship duty look pretty—well: the old. One of the younger guys always talks about Dubai and that he has to get back there as soon as the party is over. Because he was still so important, he still had to endure the elderly person expressing his misery in minute detail.

They have the freedom of their idiot and they have nothing to lose. Laughing and coughing, this is one of them and the cause of many inconveniences. In doing so, they cover some of the gaps that they painfully realize – in their circle, in their memories, in their autobiographies. Writer Eva Maria Alves was unable to finish the piece herself, she died last fall. So it was up to director Christian Uhaus and composer Sabine Werthmann to finish what may not have been the case at all.

Childhood in Catholicism: How Werner Fritsch Survived the Upper Palatinate

Werner Fritsch is not quite mischievous in his radio play Mixing memory and desire. It is the first part of the poetic autobiography of the 1960-born writer, director, and film director who describes himself as the “head of the forest farmer”. So stubbornness and idiosyncrasy too, both have to develop first. Indeed – Fritsch suggests the inevitability of a person who has something in his head that indicates far beyond the mental distress of his homeland.

Fritsch grew up on a remote farm in the Upper Palatinate, Hendlmühle in the Tirschenreuth region. Or, think less in terms of administrative regions: “I come from Bavarian-Siberia” – where winters are longer, summers shorter and thunderstorms louder. Where, above all, Catholicism had occupied everyone and the boy spent his entire childhood knowing that God was always watching over him—of course, so that he would be punished at any time in the event of a misdemeanour. In fact, Sister Consolata accomplished this task at the boarding school that Fritsch attended.

The fantasies of omnipotence that a teen develops are hideous and pathetic intelligence. Admittedly, Werner Fritsch did not become a superhero, but a person of strong speech and intellect, who, despite hard efforts, was not able to collapse. Frit himself has Mixing memory and desire Organized with the help of a famous band: Ellis Ritter and Angela Winkler played, Sylvester Groth and Nori Singer played, and Werner C composed the music.

Good reputation and dear life work, discredited within months

A third original radio play aired this week for Life Assessment: In How everything condenses into flowers Writer Ruth Joanna Penrath and musician and director Ulrike Hagge have used the mediums of the novel, but they follow the facts meticulously to describe how painter Max Liebermann’s life unraveled toward the end. Here, too, the group of speakers is impressive: Hans Seichler, Martina Gidick, and Veronica Bachschacher.

Liebermann was one of the most respected German impressionists, a prominent figure in the Berlin Secession, an honorary citizen of Berlin, and from 1920 to 1932 President of the Berlin Academy of Arts, and then Honorary President – even the so-called “seizing of power” by the National Socialists. Lieberman said on May 7, 1933 that art had nothing to do with politics or lineage – but since he was no longer involved in his position, he left the Academy.

From then on, a house in Wanzi with a large garden was his limited field of activity, and since then he has painted flowers in it – “Flowers from the New World!” , where he defiantly affirmed his global position. An escape is necessary, but if you look closely, you’ll notice criticism and attitude in the later paintings. In February 1935, Lieberman died at the age of 87. He was spared the fate of his wife – confiscation, humiliation, and painful suicide in light of the impending deportation to Auschwitz. Lieberman’s overgrown garden was too small to offer them any protection.

90th birthdayARD audio library

Mixing memory and desireARD audio library

How everything condenses into flowersRBB Kultur, July 8, 7 p.m.

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