Sophie Rois: Be yourself!

Sophie Rois: The first act

Act 1: Meet two In the café of the "Regent" hotel, Gendarmenmarkt, Berlin, at noon, just before noon. "Excuse me!" No, she has no excuse for her delay, says Sophie Rois, as she rushes toward me. Ladylike, green eyes, energetic chin and with that fragile voice that always touches and captivates me when I hear the actress. During her training at the Max Reinhardt Seminar in Vienna, she was advised to have her vocal cords treated in the hospital rather than maltreat her on stage. That did not stop them from singing and playing anyway. I gladly waited for her. "I'm glad," she smiles, folding her fingers together, stretching and sinking into her plush armchair. But only at first glance. Because she is pale and tender, but neither to be overlooked nor overlooked and as direct as she plays. No diva who needs to be lured out of reserve with sophisticated questions. Their openness is contagious. That I have seen them in "Fantasma" by Réne Pollesch in Vienna, I tell: fantastic, unfortunately not understood everything. Whether you always have to understand everything, she asks back. The game begins.

Act 2: Speak two Grown up in Ottensheim near Linz as the daughter of a grocery retailer, she became a star in the anarchistic productions of the Berliner Volksbühne at the beginning of the 90s and has since become one of the greats. "Well, if I had the makings of nuclear physics - congratulations!", She replies to my question, how she came to acting. Of course my question was not answered. The waiter brings tea and biscuits, "they look like black pudding," comments Sophie Rois, asks in my opinion and can taste the pastry. Willfulness is said to her. Self-will is part of her job, she says. "We actors are constantly called upon to separate 'self': Be yourself! Be even more yourself! Be on the heels of death, someone like me lives off his obsession with producing stubbornness, and if my stubbornness were not marketable, then I would not interest anyone, and I could put my attachment elsewhere. " Alright, this actress is the last to congratulate herself, but one of the most devout when she's excited about a project. Just as devoted as she talks into our conversation. Parallelling over back and side rests, waving long arms, so intimate and in the right place. "I got my life right early on, to be entertaining," she says. The next sentence that hits my ears sounds no less dramatic. "The moment one looks at the parents delighted or amused, one has the feeling as a child, that one is safe from being drowned in the next pond." Is she serious? I swallow and she adds, "I play because I want to survive." Like Charlie Chaplin in "Modern Times". The drama is heading for its peak.

I got my life right early on, to be entertaining

Act 3: Conversing two And how she plays. During the day rehearsals in Berlin at the Volksbühne, in the evenings performance in Vienna at the Burgtheater, during the rehearsals she shoots one film after another, says Rollen, founds a film company, in between audiobooks, theater and film awards. Is that all pure struggling for survival? "Where do you feel most comfortable, Mrs. Rois?" - "drunk in bed!" She looks innocently out of the laundry and bursts out laughing, amused by her own idea. I laugh too, I can not help it, it always makes you wonder or laugh. Whether I believe her or not, what the hell. The main thing, the entertainment is right. She has a penchant for turning realities on the head, and does not care about fulfilling roles, rather she falls out of them. And all this in her incomparable Roisian way. You just have to listen to her, she's an explosion, the people in the café are turning their heads - she's cheering, gushing, croaking, gasping for air, kneeling, grabbing her frizzy hair and wrong from one moment to the other the just said to the contrary - as passionate as no other. She calls it "Authentic Whimsy." She tells a great deal about what can not be written here because it's too private, just one thing: that she's antisocial, but finds men who make her laugh irresistible. And children? Does not have them, but "maybe I'll get pregnant tomorrow, and things look very different." She stretches out her arms as great as a silent film diva: "So I'll go."

Act 4: Two questions "Stop, stop, we're not finished yet!" I shout. No idea how she does it, but that's what makes her invincible charm: this nonsensical-honest game that chases the counter tingling chills on the back. Who is she? As cool as it is warm. We talk as if we know each other forever, but I am still confused: she can not be grasped, neither in words nor in sentences.

And the last act with Sophie Rois

Act 5: We already rock I have to know what kind of family she is from. "I was so touched when my father once said, 'Oh, you know, if Grandpa could have seen that!' Grandpa, he would have liked to be a Hatschenschleuderer. " What's this? A new puzzle from Sophie's world? Hatschenschleuderer are guys who used to push the boat swings in the fairgrounds, where the girls sat and squealed. Sophie's grandfather loved the circus but had to become a merchant. "And I'll do the fair now, yeah!" That fits, thanks, but now I'm dizzy, I have to get out.

Sophie Rois is currently performing at the Berliner Volksbühne in "A Chorus Is Wrong" by René Pollesch and in "The Maids" by Luc Bondy; For her role in the film "The Architect" by Ina Weisse, she was awarded the German Film Prize for Best Supporting Actress.


Volksbühne Berlin, Berlin, Vienna, Linz