She is a spectacle. At every moment it offers something new, unforeseen, even more extreme. She challenges the looks of the spectators, reveals herself to them scornfully and then punishes them for their voyeurism, she plays harder and rougher than the others, she always goes a little further, hits even deeper. Stefanie Reinsperger is unstoppable. Their performances are wild, full of turmoil, full of exertion. It all started in the 2010s, in Vienna, first at the Burgtheater and then at the Volkstheater, when she was on stage as Medea under the direction of Anna Badora. Not standing, just sliding down inclines and beating her knees sore on the boards, exposing the insane murder of her children with every fiber of her being.
In Salzburg at the Festival she was a love affair that one will not forget: a single lust for life that violated all limits of decency. In Michael Thalheimer’s risky staging of Karl Schönherr’s tragedy “Glaube und Heimat”, she stood by as a rigid peasant woman during the worst calamity and uttered staccato tirades of hate. And then finally: an absurdly bad evening, a flat adaptation of “King Ubu”, but you couldn’t get enough of her, the Reinsperger. Once she steps onto the stage, it’s hard to get away from her. There is something about this Austrian, born in 1988, who grew up as a diplomat’s daughter in London, first studied economics and then discovered the most honest form of resistance to her own conformity in acting, that completely captivates her. She has been with the Berliner Ensemble since 2017 and is now one of the pillars of the house.
#Phaidras #love #Berlin