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Hampton Christopher - A German Life

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Hampton Christopher A German Life

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I had no idea what was going on. Or very little. No more than most people. So you cant make me feel guilty.

Brunhilde Pomsels life spanned the twentieth century. She struggled to make ends meet as a secretary in Berlin during the 1930s, her many employers including a Jewish insurance broker, the German Broadcasting Corporation and, eventually, Joseph Goebbels. Christopher Hamptons play is based on the testimony she gave when she finally broke her silence to a group of Austrian filmmakers, shortly before she died in 2016.
Maggie Smith, alone on stage, plays Brunhilde Pomsel.

Christopher Hamptons play is drawn from the testimony Pomsel gave when she finally broke her silence shortly before she died to a group of Austrian filmmakers, and from their documentary A German Life (Christian Krnes, Olaf Mller, Roland Schrotthofer and Florian Weigensamer, produced by Blackbox Film & Media Productions).

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Contents I first became aware of Brunhilde Pomsel when Jonathan Kent - photo 1

Contents

I first became aware of Brunhilde Pomsel when Jonathan Kent introduced me to the documentary film Ein Deustsches Leben, directed by the Viennese collective, Christian Krnes, Florian Weigensamer, Roland Schrotthofer and Olaf S. Mller. Presented in an aesthetically beautiful black-and-white format, shot to highlight a 102-year-old face craggier than W. H. Audens, interspersed with clips from contemporary films and images from the death-camps, it leaves an impressively sombre aftertaste, but not necessarily an easy route for a dramatist to follow. Nor was the book based on the film (called in English The Work I Did) very suggestive in this respect. So, fascinated as I was by Ms Pomsel, I was more or less at a loss as to how to proceed, when Christian Krnes gave me the 235-page transcript of the conversations he and his team had held with her in 2013.

Suddenly she came vividly to life: her liveliness, her humour, her descriptive powers and her evasiveness, often signalled by a fracturing of her normal easy fluency. Whereas, after watching the film, its scarcely possible to believe her claims that she knew nothing of the Final Solution, even though she was working in Goebbelss office, I found myself half-convinced by the transcript, particularly her majestic indifference to what might be happening in the outside world. Anxious to think well of everyone anyone not described as sehr nett (very nice) is clearly a complete bastard proud of how pflichtbewusst (conscientious) she was in her work and properly sceptical of the bizarre and irrational imperatives of politics and men (which she regards as synonymous), she belongs to that constituency so familiar to us today: the person who thinks well of the authorities. The irony is that it was precisely the office in which she found herself working Goebbelss Propaganda Ministry that invented and perfected the techniques, so cynically used by todays politicians to mislead, exploit and blatantly lie to people very like herself.

To put it simply, I have no idea to what extent she is telling the truth; and it was this central ambiguity that finally most attracted me to the subject. In general, Ive always preferred to leave judgements and conclusions to the audience: the case of Brunhilde Pomsel seems to me particularly finely poised.

*

This is the first time Ive written a one-person show. Writing for actors, which is how I usually describe my profession, is an essentially collaborative process, and writing for one actor all the more so. Those of you who have watched the play would not have to be especially eagle-eyed to notice a good many differences between text and performance. In particular, the text is around twenty per cent longer than the performance script. If youre lucky enough to be working with the incomparable Maggie Smith, youre well-advised to pay close attention to her suggestions and instincts and to do everything you can to play to her many strengths. I think of this piece therefore as raw material, through which any future performer can carve their own passage.

At the Royal Court Theatre, where I began my career, the text was held to be sacred, fierce battles were fought over commas, and any thought of asking a writer to develop his or her script would have been regarded as a heresy and contemptuously dismissed. Im still marked by that training; I prefer, on the whole, for my plays to be performed as written but I must admit that the process of deconstruction, analysis and distillation undertaken with Maggie Smith and Jonathan Kent has been immensely enjoyable; and Im extremely grateful to them.

Christopher Hampton

March 2019

A German Life was first presented at the Bridge Theatre, London, on 6 April 2019. The cast was as follows:

Brunhilde Pomsel Maggie Smith

Director Jonathan Kent

Designer Anna Fleischle

Lighting Jon Clark

Sound Paul Groothuis

Design Associate Liam Bunster

Props Supervisors Marcus Hall Props

Costume Supervisor Eleanor Dolan

Brunhilde Pomsel

A suggestion of a quite small domestic kitchen in Munich. A plain table covered with a gingham cloth and a simple wooden chair on which, nursing a bowl of coffee, sits Brunhilde Pomsel, a compact woman with heavy black-rimmed glasses, a lined, craggy face and a confident air. Shes 102, although theres nothing in her lively demeanour or obviously sharp intelligence to betray this fact.

As the lights come up, she acknowledges the audience, takes a sip of coffee and reflects for a moment.

Brunhilde Pomsel Ive forgotten such a lot. Most of it, really. Certain things stick of course, although Ive no idea why. I dont understand how it works. I read something and then I go across the room to check whats for dinner and completely forget what Ive just read. I think, wait a minute, Ive only just read that: I read it with my eyes wide open, I digested it and now its gone. And then, all of a sudden, things from long, long ago surge up into my mind. Things I can remember in the minutest detail.

She looks up at the audience.

So youll have to Anyway, lets see how we go.

Pause.

I can remember the outbreak of the First World War, thats probably as good a place to start as any. I was three, we were staying with my grandmother in the country and my father sent a telegram to say hed been called up, one of the very first batch. So we travelled back to Berlin and took a hansom cab, which was an unheard-of luxury, my mother, my baby brother and me, to the Potsdam station, to see him off. And I remember she bought pears, a bag of pears.

After that we didnt see much of my father, he was in Russia all through the war, although he must have come home on leave a few times, because by the end of the war there were five of us, I had four little brothers. When he came back we kept saying to each other whos this strange man in the flat? The first thing he did was he abolished the use of chamber-pots, so that if we had to get up in the middle of the night, we had to creep through the building in the dark, past all the witches and the evil spirits.

I suppose it was a happy childhood, whatever that means, God knows. They were always complaining about having no money, but we paid the rent and we never went hungry. My dad was a painter and decorator, so he was always in work, even during the inflation. He was very quiet, he never talked about his childhood, or the war, or anything very much. All the same, our whole world revolved around him. We were brought up very strictly, a clip round the ear or a thrashing with the carpet beater if you did anything wrong. And being the eldest and the only girl, everything was always my fault: you were there, why didnt you stop it happening? But all the same, it was fine, we were a normal German family. If youre crowded together in a small flat, love doesnt necessarily conquer all: no, the main thing is obedience plus a few fibs and a bit of shifting the blame on to other people.

I was good at primary school and the teacher said to my mother: shes bright, she needs to stay in school. My mother started trying to squeeze the money out of my dad, but then the teacher got the secondary school to give me a free place for a year and I moved up but then I wasnt quite so good any more, geography, maths, chemistry, I couldnt do any of those; and my reports started saying Brunhildes disruptive, Brunhilde never stops chattering in class and so on. And I was hopeless at games, I was a clumsy little thing, Id been wearing glasses since I was nine, I was terrified of ball-games and in the gym Id get stuck on the horizontal bar and theyd have to help me down. What I wanted was to be an opera singer, like my friend Ilses mother. I used to go round to help Ilse with her homework her parents were very rich, there was always coffee and cake and her mother was Italian, they had a beautiful piano and she used to sing arias for us,

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