The size of the role was never decisive for actor Nenad Žanić, who has been part of the Eduard von Winterstein Theater ensemble in Annaberg-Buchholz for 15 years. He wants to give each role a very individual character. But “Jedermann” became a special role for him – a role he shaped, and at the same time …
The size of the role was never decisive for actor Nenad Žanić, who has been part of the Eduard von Winterstein Theater ensemble in Annaberg-Buchholz for 15 years. He wants to give each role a very individual character. But “Jedermann” became a special role for him – a role that he shaped and at the same time that shaped him.
“It was after the change of artistic director, when Ingolf Huhn took over the office of Hans-Hermann Krug,” recalls the Bavarian of Croatian origin. After the premiere of Shakespeare’s classic “Hamlet”, in which he had played Laërte, the boss called him to his rank and told him he wanted to stage “Jedermann”. This famous “Rich Man’s Game” written by Hugo von Hofmannsthal, which had been created in Berlin 100 years earlier. And he should play the lead role. Emotionally moved, he began to make his way to the room. Linguistics alone is a whole new challenge. It is not for nothing that the industry says: “Anyone who knows the Hofmannsthal language can also play everything else. It was the first vacation in Croatia with her parents – four weeks at the beach. But for him, the manual has become the most important tool of these four weeks. Because after the holidays there were only two weeks until the premiere. It became a success. “There was a lot of applause,” he recalls.
The “Jedermann” has become a role that attracts him every year since. He is always present for almost 90 minutes and has the right to play all the emotions that there are: joy and jubilation, but also despair. And the role changes with him – as he ages, as a result of new experiences. “Jedermann is different every year,” he says. Not only because the beard is always different, but also because the character of the figure has developed, especially the language. “We have shaped and adapted them over the past ten years so that they can also be understood by generations today.” But it has always been important to him that he feels what he is playing. For this, he uses the well-known acting method of director Lee Strasberg, which in turn is based on the teachings of Konstantin Stanislawski. The actor works with memories of his own experiences and with relaxation techniques. “This is how I learned to transfer feelings,” he says.
And because the lyrics are quickly present over and over again, he can focus much more on the intricacies and nuances of the game. “You take the stage with one hundred percent and walk away with zero percent.” But the effort is worth it. Because the sports-loving family man notices that the public is also developing. More and more often he meets visitors who have seen the production for the second or third time. And some are even there who have seen performances at the festival’s original venue in Salzburg before – in other words, exactly where the story has been staged with increasing pomp and glamor and attention. audiences since 1920. But the guests Nenad Žanić spoke with liked Annaberg’s performance better.
A success story whose versatile mime leaves the end open. Because next year there will be a new production. Future director Moritz Gogg has already announced it. And hired Markus Steinwender, born in Salzburg, as a director. For now, however, the last performance of this year’s “Jedermann” is on the schedule on Tuesday – as always against the impressive backdrop of the mighty St. Anne’s Church. And then the new season awaits you with exciting plays and many leading roles.
You will see the last performance of the play “Jedermann” next Tuesday, August 24th, at 8pm. Tickets under