/ 7 minutes reading time
She has made a meteoric rise. Stefanie Reinsperger caused a sensation with her first role at the Burgtheater, but switched to the Volkstheater and from there to the Berliner Ensemble, played the paramour in the Salzburg Festival “Jedermann” in 2017 and 2018 and has been a “Tatort” commissioner since 2020. The fact that the native of Baden has now written a book is doubly extraordinary: the actress is only 34. And she is “pretty angry”.
That’s what Reinsperger called her book, which is published today by Molden Verlag: “Pretty angry”. She wants to be “honest, honest with me, but of course honest with you,” she writes in the foreword. “I’m a very physical player. I love using and making my body available as an instrument, as a tool. Bodies in space that relate to each other, put them in relation and whose actions have an effect on the other – that’s theater and play for me. And it took me a long time not only to accept and accept this my body, my rage body, but above all to love it. With everything I have.”
So it’s about “furor, passion, madness, rage and force” that she puts into her game. About gambling. And about the anger she developed because of experiences in her everyday life. “Nothing I write and have experienced is new. Nobody can tell me that. All of this happens to someone every day in this society of ours. And that makes me angry! And I don’t want to put up with that anymore. We won’t put up with this anymore! Yes?”
It’s about people’s reactions to their physical appearance. “I’m no longer angry that people call me ‘fat’, I’m angry that we still and only associate the negative things with that word. Can we finally rehabilitate the word ‘fat’ please? There are certainly also possibilities in the area of language to see the word as something great. There are many people who find thick books great. A thick slice of cheese, a thick blanket, a big account, a big kiss – always seems to get positive reactions,” she writes, admitting: “I’ve long since stopped counting how many times I’ve been on the subway unknown people – just in passing, just like that – as “fat sow” was insulted.” It is “always amazing that a female, strong, strong body is perceived as a flaw and a male, thick body as a sign of virility”.
Stefanie Reinsperger writes that before the broadcast of the first “Tatort” with her as Commissioner Rosa Herzog, joy does not outweigh, but the fear that there will be many comments and postings about her appearance. And she reports “the worst experience in this regard”. Namely playing the paramour in “Jedermann”. “Apparently a lot of people took it as an insane attack that I took on this role, as a woman who wasn’t beautiful enough for many people to play this character. How could I presume to do that?” She struggled with herself for a long time to write or speak about it. “But if there’s one thing I regret and blame myself for, it’s that I didn’t talk about it at the time. I should have done that.”
They are ugly, humiliating scenes that she describes. It was by no means easy to process them. “But it makes WE stronger. I would like to say that I am not overwhelmed by anything, but that is not true and I would be lying to you. Because there are always situations that hurt me a lot and throw me off track. However, it doesn’t take that long now until I’ve overcome and processed it. I’m growing on it. Every day a little more.”
And then they are still there – interrupted by beautiful and funny black and white portrait photos by Sven Serkis: memories of childhood and growing up in Belgrade and London, of reenacting one’s favorite fairy tales in the park, of going to the musical “Joseph and the Amazing Techniccolored Dreamcoat” in the West End and the first course at the Unicorn Theater at the age of four. “I never wanted to leave there again. I was so excited and happy. The fits of anger and yelling on the playground and in the supermarket subsided and became fewer and fewer. I yelled, screamed, cried, laughed and chuckled in my theater lessons now.”
The episode has some hilarious dialogue between two pressure cookers to read, two teasers of a “tall blonde woman with a bun”, once after a performance where an important video was dropped, another time in Bad Vöslau because of a man’s comment about her Salzburg dress, comments about her anger against “this shitty Coronski virus”, against rules in this regard and against people who don’t follow the rules, against femicides, rapes and male assaults of all kinds.
Towards the end, Stefanie Reinsperger gives an overview of some roles that have been offered to her and their attributions. They range from “Maria (33, a bulky, grumpy appearance)” and “Sarah (24, a very stocky woman)” to “Julia (35, very overweight, is therefore visually out of the ordinary)”. She describes her rebellion against these kinds of roles. “And do you know what the beauty is? It is rewritten, I am listened to, texts are changed, I am understood. The comments on the appearance of the characters are less at castings. It’s great that it’s being dropped and changed more and more. Good this way! But I would like to see a time when these discussions are no longer necessary. In which there is an empathy and an awareness for one another, in which roles are simply roles. people people, body body. Anything else makes me angry.”