RIP Peter Kern
Die Presse
By Andrey Arnold
8/27/2015
Peter Kern believed there was hardly any difference between life and art. His passion was Insolence. On Wednesday August 26, he died at the age of 66 years.
Insolence is an underrated quality. Without consideration for losses, it proposes breaches in the walls of the Convention, of good taste, the illusion bastions an oh-so-perfect world. Peter Kern, who was 66 years died after a long illness, actor and director, was one of the last great insolent. Between life and art, they hardly made a difference, because there was clearly none accordingy to his attitude and his loud voice.
In 1949 he was born in Vienna Leopoldstadt, his proletarian origin coined worldview, self-understanding and creativity. He started with the Vienna Boys' Choir, at 19 he was hired for a German version of the musical "Hair" and went on tour, that brought him a role offer for Peter Lilienthal teleplay "Jakob von Gunten" the New German Cinema. In the seventies he was part of a steady movemen workingt in front of the camera, including Rainer Werner Fassbinder, Hans-Jürgen Syberberg, Wim Wenders and Werner Schroeter. Also in the theater could where he could succeed in Vienna, in the course of his career he was seen in almost all major theaters of German-speaking countries and also worked together with Christoph Schlingensief.
1983 produced roles in the Philippines for Kurt Raab’s Exploitation drama "The Island of the Bloody Plantation", a little later he plunged himself into directing and stayed until his death on 30 cinema projects. His love and passion had always been given to the outsiders, Abgedrängten whether in documentary-inspired game or in stylized documentaries -. About "cuddling, smooching, Jubilieren" about the gay scene in Dusseldorf with his own homosexuality, he never kept vibrant.
Core cinematic oeuvre is unmistakable: Mostly are the independent low to no-budget items, scenically an idiosyncratic hybrid of Arte Povera and opulence, overambitious on principle. Nuclear often occupied amateur actors alongside theater professionals and well-known performers such as Helmut Berger or Josef Hader. In the spirit Fassbinder interested him the friction between the figures and the people behind them. His second great role model was Luchino Visconti - "The Last Summer of the rich" core finale, at this year's Berlinale successfully presented work was clearly inspired by the poetic pathos of the Italian.
If the atmosphere was suffocating at film festivals in anesthetic cultured fussiness, core Europe had reliably the antidote. His art could like it or not, they never let get cold. That was apparently the latest in audience discussions after his films: The reactions ranged from enthusiastic to rage, often led to heated arguments in which the director exploded deficient thoughtful questions with gusto. Hostility inspired him. A core of detractors wrote: "Please stop now making more films." His answer? "King Kong's tears", a new work.
In solid belief in a healthy provocation culture he drew upon interviews and appearances before the mallet of the fine blade and fumbled ball with carrot and stick. As corpulent balancing personality with well-kept wardrobe he could flatter in dignified Theater German tender, but as bettors and rumble. The wildest insults sounded gracefully out of his mouth. They were directed against all forms of exclusion and xenophobia, the hypocrisies of the affluent society, time and again against the Austrian cultural policy, of which he felt neglected - 2010, he nevertheless received the Merit Award in Gold of the Province of Vienna.
Actually, he just wanted to be loved, but it was also his followers not always easy. He once said: "If I yell at you, please do not be equal to hurt. If I insult, take it as a token of love. . Remember, I am an Austrian, insane, hysterical, hypocritical and undemocratic "In beautiful documentary portrait" core "by Veronika Franz and Severin Fiala he bared himself mentally and physically, talks seemingly openly about fears and desires to someday casually interject:" About the real Peter Kern you will learn nothing, throughout the film. "The truth of this irreplaceable exceptional artist was probably precisely in this contradiction.
KERN, Peter
Born: 2/13/1949, Vienna, Austria
Died: 8/26/2015, Vienna, Austria
Peter Kern’s western – actor:
Karl May 1974 (George Grosz)