The latest debate on the GDR comes to the theater stage: “Stupid Years” by Thomas Freyer and “Gittersee” based on the novel by Charlotte Gneuss show very well how this can be done without embarrassing sayings about bananas and nostalgia for the East.
A full 35 years after the GDR opened its borders and shortly thereafter disappeared from the map, gleaning has entered a new phase. The eastward expansion of the Federal Republic has been nowhere near as harmonious as Westerners had imagined – until today. The necessary image correction, initiated by Dirk Oschmann, Katja Hoyer and Steffen Mau, has continued in literature and has now arrived in the theater. It’s a different tone, completely without awkward Ossi jokes, cheap nostalgia or outright condemnation: a new objectivity. And that’s something to be proud of.
The stage of “Stupid Years” at the German National Theater in Weimar appears tidy and decidedly sober: the audience sits in the stands in front, in the center a long simple table with a bright red tablecloth on it – like the flags in front of the gray facades at state celebrations of the GDR. It highlights the contradiction between a daily life that appeared sterile compared to the consumerist frenzy of the West, and the promise of a better future, which, in comparison, appeared increasingly poorer.
Family life remains largely unaffected by big politics. This is what it seems like, but it’s not entirely true. Even with socialist progress, some people fall by the wayside: like that friend who had a mental breakdown in the youth center and then fell onto the tracks. Like the young doctors in the dissecting room, the audience follows this family until the turning point and the “baseball bat years”. Parents and children become increasingly estranged from each other, and the experiences of the elderly who end up needing care are no longer able to cope with the new circumstances.
Lies and tricks
“Gittersee” at the Berliner Ensemble takes a similarly modern approach to “Stupid Years.” The stage alone, with its suspended white stripes, does not allow one to feel emotionally connected to a historical setting. Instead, pay close attention to psychological events. Director Leonie Rebentisch has created beautiful and powerful scenes for the theater stage from Charlotte Gneuss’s debut novel – often compared to Anne Rabe’s “The Possibility of Happiness”, but far more successful.
“Gittersee” brings to the stage not half a century, but a few weeks from 1976, which – as the historian Karsten Krampitz wrote – was a year of upheavals in the GDR. This also tells the story of a family’s daily life, which is becoming completely out of control. Amelie Willberg plays the young Karin, whose boyfriend has committed “escape from the republic”. The surprisingly kind State Security is more interested in her than her parents, but working for the apparatus throws the teenager into a difficult situation to resolve.
The production lives on Willberg’s work, which oscillates between youthful defiance, stubborn seriousness and impotent desire for recognition. It shows a multi-faceted Karin between worlds, who lives with her schoolmate while trying out lipstick in the naive games of childhood on the threshold of adulthood, while at the same time encountering the serious games of real adults, which involve lies and deception work – with drastic consequences.
It’s almost incredible how Willberg – born in 1998 and hired by the Berliner Ensemble last year after having actually only accompanied a friend to the audition without applying herself - shows the protagonist in her contradictions, who finds herself once again entangled in the fight for freedom. A feat that will not be soon forgotten. And this doesn’t discharge prefabricated judgments, but also asks you: ”Before reaching any conclusions, try to put yourself in my shoes.”
“Monika Haeger – Inside Stasi” is clearer in its presentation and references to the present: the character study of a woman who makes her way into the state security department by tracking what is now called “lumpenpacifism” and “state delegitimization” how to become an IM in Prenzlauer Berg. Nicole Heinrich wrote and directed the documentary, which Anja Kimmelmann screened on November 9 – with even more disturbing effect, so to speak – in the former Stasi headquarters: as a criticism of a widespread attitude that replaces individual morality with state goals .
Pieces like “Stupid Years” and “Gittersee”, both world premieres, represent the new way of dealing with the GDR on the theater stage. The old representatives of the GDR theater who, such as Heiner Müller, Peter Hacks and Volker Braun, still worked in the country and the hopes they had in them, have now disappeared from there. After the end of the utopias, today we look impartially – without glorifying or demonizing - everything that in the socialist state was only the State, that is, state power.
“Stupid Years” can be seen at the German National Theater in Weimar, “Gittersee” at the Berliner Ensemble.
Interview Between Time.news Editor and Theater Expert
Editor: Welcome, everyone, to today’s edition of Time.news! We’re diving into a fascinating topic: the portrayal of the German Democratic Republic (GDR) in contemporary theater. Joining us is theater expert, Dr. Claudia Lang, who has closely followed the recent productions “Stupid Years” and “Gittersee.” Thank you for being here, Dr. Lang!
Dr. Lang: Thank you for having me! I’m excited to discuss these two significant works.
Editor: Let’s start with “Stupid Years” by Thomas Freyer. What are your impressions of how it tackles the subject of the GDR environment?
Dr. Lang: “Stupid Years” offers a very refreshing perspective. The setting is stark and unembellished—a long table draped in a bright red cloth reminds us of the paradox of GDR life. It contrasts the sterile daily experiences of its citizens against the backdrop of Western consumerism. This minimalistic approach allows the audience to reflect on the complexities of family life and societal pressures without resorting to clichés like “Ossi jokes” or nostalgic tropes.
Editor: Absolutely. It seems to take a path toward a new objectivity. How are elements of family dynamics represented here?
Dr. Lang: The portrayal of family life is both intimate and tragic. The narrative follows a family as they experience growing estrangement amidst the pressures of changing societal norms. The audience witnesses pivotal moments that highlight personal struggles while navigating the broader ideological upheaval. It captures how historical events seep into the fabric of everyday life, affecting relationships in profound ways.
Editor: That’s very poignant. Now, shifting to “Gittersee,” directed by Leonie Rebentisch: how does it compare?
Dr. Lang: “Gittersee” is quite compelling in its own right. The staging is notably modern, avoiding emotional connections to a particular historical moment, encouraging a focus on psychological truth instead. The story centers on a brief but turbulent period in 1976, creating a vivid emotional landscape for the characters, especially the young protagonist Karin, played by Amelie Willberg. She navigates the tumult of adolescence against a backdrop of political unrest.
Editor: Karin’s character seems multifaceted—can you elaborate on her journey?
Dr. Lang: Certainly! Karin embodies the struggle between youthful innocence and the harsh realities of her environment. As she grapples with her relationship and the implications of her boyfriend’s decision to escape the republic, we see her oscillating between naïve childhood and the stark adult world of deception. Willberg masterfully captures this tension—a young woman caught between her dreams and the inescapable grip of her reality.
Editor: It sounds like both productions focus heavily on character depth and storytelling over nostalgia. Why is this shift significant in the context of German history?
Dr. Lang: It’s significant because it reflects an evolving understanding of the GDR experience. As we distance ourselves from the actual events, there’s an opportunity to explore the less favorable sides of that period with honesty and nuance. By moving away from sentimentality, these productions prompt critical conversations about the past—how history shapes identity and the complex realities of individual lives amidst political systems.
Editor: Fascinating! In closing, what do you hope audiences take away from these plays?
Dr. Lang: I hope audiences leave with a deeper understanding of how the weight of history and political structures can shape personal stories. These plays highlight the importance of empathy in understanding others’ experiences, urging us to reconsider our narratives about the past, and inviting a more mature dialogue about our shared history.
Editor: Thank you, Dr. Lang, for providing such valuable insights today. I believe these productions are indeed a substantial step toward a more nuanced interpretation of the GDR.
Dr. Lang: Thank you! It’s a pleasure discussing these important works.
Editor: And thank you to our viewers for tuning in! We look forward to diving into more intriguing cultural discussions in future editions of Time.news.