Barbara Yelins Comic about Therese Giehse | EUROtoday

“The Gehse”. This is the title of a comic book that’s obtainable in eleven thousand copies – way over normal in Germany (in the event you chorus from “Asterix”, “Lucky Luke” and a few manga). The excessive version doesn’t owe to the truth that it is without doubt one of the finest theater comics in any respect, not even the truth that his writer is Barbara Yelin, who is without doubt one of the most internationally profitable German comedian meters. No, the comedian is a present: on the fiftieth day of the Giehse, which was lately dedicated. You are appropriate for the German stage with which she was closest to the Munich chamber video games. And even when this thirty -side booklet just isn’t for nothing (5 euros are due when ordering on the theater), it’s also a present for everybody, not just for the admirers of the Giehse.

“The Giehse” – that was, because the wording suggests (as a result of solely nice of artwork is alleged: “Die Garbo” – and never Greta Garbo -, “The Callas” – and never Maria Callas -, the “Bachmann” – and never Ingeborg Bachmann -, “The Fly” – and never Marieluise Fleißer -, “The Countess” – and never Marion Dönhoff) Virtuoso of her subject. Therese Giehse was born in Munich in 1898, and correctly for a biographical comedian, it begins. But the second panel already exhibits the younger lady who calls the opposite youngsters backwards: Therese was Jew, and her true household title was poison. She exchanged it in 1920 on the event of her first stage engagement for Giehse.

Because she did not need to be a money poison, and the lesbian actress didn’t search for a person who would have given her a extra nice title if he had married. When she married in 1936, grew to become stateless within the Swiss exile as a result of the Nazis had illustrated all of the unpopular emigrants (and the communist giehse, who had ridiculed Hitler and others in her cabaret troop “Die Pfeffermühle” and others since 1932, she was significantly hated), she selected the British author John Hampson, one Homosexuals. That secured her a British passport.

So we obtained into the center of the comedian “The Gehse” and likewise in the midst of this life. The first web page, which Barbara Yelin then devotes his second half, is a miracle of placativity. Therese Giehse travels from the USA, the place the “Pfeffermühle” had unsuccessfully tried to return to Europe with English -language cabaret. The skyline of Manhattan could be seen above, normally the primary greeting to the hopeful emigrants, however right here a farewell look, and beneath the Gehse is sitting in one of many on -board salons, the chin is supported, in poison yellow costume, as she has not worn within the comedian since childhood as a thermal poison, and I’m telling us: “I am a characteristic” – a attribute Self -disclosure that Yelin pulled out of the biographical literature evaluated by it.

It is the guideline of this comedian, and that the geehse says the sentence white on black (white font in black textual content field), marks it as an genuine quote. Yelin has already acted in “Emmie Arbel-The Color of Memory”, her celebrated, marked life report from the angle of the Schoa survivor of the identical title. The title of reminiscence of such ladies who had been focused by Nazi rule is deep black.

Barbara Yelin, with a triad of such life tales within the shadow of the Third Reich, has develop into her place within the comedian Olympus: “Irina”, who instructed about Yelin’s grandmother, appeared in 2014. Two years later, after a state of affairs of the Israeli writer David Polonsky, she carried out the biography of actress Channa Maron, who had performed as a toddler within the movie adaptation of Erich Kästner’s “Pünktchen and Anton”, however then fled to Palestine when Jewish. “Emmie Arbel” lastly adopted in 2023. And now, considerably shorter than the opposite three, however at all times simply as spectacular to learn, “The Giehse”.

Yelin’s typical manuscript: solely hooked up contours which might be then coloured in a approach that appears pastel as a result of an infinite variety of nuances are mixed on fairly pale tones, which, within the total impact, lead to a coloration power skilled in expressionism, which in flip suits too properly with the temper and temper of the portrayed. It will get darker across the Giehse, though it may well keep in secure Switzerland within the battle and, after 1945 in West and East Germany (at Brecht’s Berlin Ensemble), turns into essentially the most profitable stage actress for whom even an egomania like Friedrich Dürrenmatt rewrites his “physicist” in order that she will be able to play the principle function of the irrene physician in it (whereas an irrepastator was initially supposed).

It solely will get vivid within the second half: on one facet that’s primarily based on the reminiscences of Giehse’s youthful colleague Ruth Drexel, which came upon of an identification disaster originally of her theater profession when she watched the Giehse on stage in 1970 the way it performed the consumption of a soup with an empty plate. Barbara Yelin information this sight in seven panels in opposition to the pale -white background, and who, like me – or Yelin himself – has by no means been capable of see the Giehse biographically, will nonetheless get an understanding of what its impact was. No surprise that Yelin additionally selected the soup essimulating Giehse on the cowl motif, however in youthful years and in entrance of darkish funds, out of their face, fingers and plates, as if they’d been identified on them.

Yes, this comedian could be very massive theater. He makes use of all copy methods of stage reminiscence and remains to be of a readability that attaches the immediacy of the stage expertise. We see the Giehse play, struggle, stay. Five euros are a ridiculous value for this staging.