Hans Neblung and his special relationship with Bremerhaven

When Hans Neblung walks the streets of Bremerhaven, people recognize him. “Bremerhaven is my little island, and people know me.”


“My Sandbox”

The artist’s changing eyes flashed with mischief as he added dryly: “When I’m outside in Zurich, no one knows me.” In his own words, the internationally experienced dancer, singer, and actor has a “special relationship” with the sea-town. “Bremerhaven is always a sandpit for me. I can try new things, do things I’m not allowed to do anywhere else. I can pitch songs on my solo show at third lower, or sing a script to a different tune and see if more people are listening. That’s It’s my privilege, I’m free here,” the 64-year-old excites.

pecking order

“On stage, you’re always limited by staging, costumes, and the director’s ideas. Directors are dictatorial, you do what they say or don’t have a good time. There’s no flat hierarchy in the theater.” He speaks realistically about the reality of the stage and quietly notices how his words slowly seep into his counterparts and their effect increases in their facial expressions like steam from a cup of tea in his hands. “There is always a selection order, in every squad, in every team, in every family. It was the same for me.”

Hans Nebelung reports that there are no flat hierarchies in theatre.

Photo: Bullwinkel studio23

Hans Nibelung and his life as a baby

“Where did Little Hans stand in the family hierarchy and how did that shape him?” Hans Nibelung thinks for a moment and then, without further hesitation, describes the situation at the time: “We lived with six people in a three-room apartment. I think that’s why I like to open a large theater for myself. To this day, it is important to me that I always have Only my own room, no matter where I live. In the past, when I was the child of the family, I was also below the flick order. My brothers were ten and twelve years older than me. There is no competition on equal terms, at most you can try to outdo them in Sometimes.” He laughs mischievously and then gets serious again. “Maybe I was a little more spoiled, but on the other hand I also had to compete with people who were already more sophisticated and better in return.”

social communication

With this life experience in his baggage, learning new scripts isn’t the big challenge for him at the start of a new engagement. “I have to keep getting involved with about 40 new people. A lot of social contacts are more stressful than the plays or the same role you’re slipping into. In such groups, introverts often feel like they are missing something, while extroverts are more likely to gain something.” “.

The individual is the sum of many parts

They played roles such as Dumbledore in “Harry Potter” in Hamburg and the villain Santa Maria in “Cheh de Manitou” in Munich at the same time. What is the key to playing such opposite characters at the same time without becoming schizophrenic? “There are colleagues who always play themselves. But I believe that each individual – including the actor – is the sum of many parts. In each situation, a different part comes to the fore. I don’t invent anything that isn’t already in me. You don’t have to kill someone to play the role of the killer. But getting to the potentially fatal part helps. I am convinced that everyone has this, you just have to zoom in and use this aspect of yourself. It takes imagination to put yourself in an imaginary situation where, for example, your own life is being threatened and you are fighting for your life. The interaction of emotions reflected in the actor’s multi-layered face before he continued to speak.

sad dreams

“I was rudely left once. It hurt so much that I even had sadistic dreams. I would never, but as an actor, she gave me access to this side of me. It shows that we are always more than what is currently in the place. It is the same with words Songs. When I’m in the role, it’s like a red thread running on its own. When the piece is played after the engagement, the shape and text disappear very quickly. If the piece ends, then a phase of life ends.”

Melody and silence

Hans Nibelung admits he’s bad with names. “I’m really bad at remembering that too. But sounds. I’ll never forget a sound. I’m a vocal person. If someone plays bad music or sings badly, I can’t stand it, that’s why I don’t listen to the radio. If that sounds bad Really, I’d like to attack too—or (laughs) I might end up being a killer after all.”

Because of this, the singer and artist prefer silence or instrumental music in his private life. “I can’t stop singing, so often I think I would have sung differently. Unfortunately, I have lost a certain ability to enjoy it over the years.”

Cooking without a recipe

On the other hand, the 64-year-old enjoys moments like cooking with friends as much as spending time within his four walls in Bremerhaven. “I love cooking, but I don’t follow a recipe stubbornly, I find it quite boring, I just use it to proportion the ingredients. For me, cooking is like singing, there is a tone that I follow, but when I start, I interpret it the way I want.” Hans Nibelung laughs sincerely at this comparison But he gets serious right away again. “I have spent a lot of time in hotels, theater canteens, trains, cars and planes, and I am happy to cook for myself and sleep in my bed. I rarely go to the theater especially, it feels a bit strange. Playing the theater has become less important to me in general. I no longer need it To be happy and satisfied. I’m at a point in my life where I can put it behind me. That was unimaginable to me 15 years ago.”

Hans Nibelung

Hans Neblung loves to cook – with an absolute passion.

Photo: Bullwinkel studio23

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