"I never try to be provocative in any way," Eidinger says, which in itself might seem like an ironically provocative statement. Sometimes, this kind of presence leads to radical, antagonistic, or provocative moments with an audience.
Lars eidinger sense8 series#
Related: HBO Series Irma Vep Debuts With Perfect 100% Score on Rotten Tomatoes And that gives me certain kinds of presence. And this is also something I tried to do in front of the camera to make decisions in the very moment and follow them, this is what I mean with instinct. This is what describes presence, and this is why I think most of the actors in theater are not present, because they just repeat something that they rehearsed in the past.
The only reason why I interact with the audience, or why it provides the theater is because I want them I want the audience to feel that it happened in this very moment. "I think as an actor, you always have to come up with something that is necessary for the very moment, so my interpretation or my idea of presence is something which barely happens, which I think not that many actors are doing." Eidinger continues:
He has an almost dangerous unpredictability, totally existing in the present moment but tempered by a deep understanding of the human condition which allows him to recognize the most truthful or powerful way to perform at that exact moment. This is the essence of what makes Eidinger such a dynamic, fascinating, and underrated actor, and consequently what makes his performance in Irma Vep so utterly memorable. So I always have the feeling, why should something that we did in the past have a quality in the present?" "The way I was educated in acting school," Eidinger says, "was that you rehearse something, and then you perform it in the future, but it's something that you rehearsed in the past. Of course, there is immense skill and talent in his performances, but it's almost as if Eidinger doesn't trust professionalism or consistency. It's really animal-like and more instinctive.Įidinger's acting 'style' is almost anti-style itself, similar to his character Gottfried. It's just about the moment, it's just about the relation to the partner, the reaction of the atmosphere that I'm surrounded by. She said, 'if you have an idea, forget it.' So I don't want to have any ideas. There's a really nice quote from the Brecht actress Helene Weigel. What I don't want is to perform something that I had in mind when I went to set. My way of acting, I want to be unpredictable, and I always try to follow my instinct. For me, I always want to play like an animal. The particular reason why I play this part, or why he called me and offered me the part, is because this is in a way my ideal of acting, to have something unpredictable. That's because Gottfried and Eidinger share a similar sensibility when it comes to acting. They've worked on several films, most notably Clouds of Sils Maria and Personal Shopper, and it's safe to say that Assayas knew how perfect Eidinger was for the part, even if Eidinger as a person is very different from this kind of character. Ultimately, somebody had to play this "part of his mind" in Irma Vep, and Assays knows Eidinger well. Lars Eidinger Plays Gottfried in Irma Vep He's an incredibly complex, subtle, funny, and iconoclastic performer, something which can be seen front in center in the fantastic new HBO series Irma Vep. In fact, Eidinger is so much more than the "anarchic German actor" publications like The Globe and Mail like to classify him as. While Eidinger can certainly be provocative in his performances and has undoubtedly ruffled the feathers of stuffy establishment critics and elitists in the industry, it would be a serious mistake to isolate these moments from his career as 'provocation for provocation's sake' and to confuse the artist with a few of his more headline-grabbing performances.
For productions at the Schaubühne, he has urinated into a sink on stage, pushed sausages up his behind and, in Ostermeier’s A Midsummer Night’s Dream, ventriloquized Puck’s monologue through his penis When his Hamlet reached London in 2011, Eidinger’s Dane wandered into the auditorium and ripped up a critic’s notepad.
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