Giving the fourth Prize Europe for Theatre to Heiner Müller, hot only has the Jury wanted to look at him as are of the best living playwrights, but they also wanted to honour him because he has been able to reshape the concept of play wright during party years of his activity.
I has not been a mirror game the one exploited by the artist whenever he wrote plays creating both poetry and drama, while the public were making responsabilities, the intelligent controversies him a maitre á penser of many generations: and by on this and that side of Berlin Wall, he has represented a disturbing critical conscience for both the two Germanies. And he has also reshaped his language, just for his beloved country considering the difficulties it always reveals.
Coherent with his practise in contradiction, Müller has imposed himself as a classical writer ahead of his time by experimenting and he has been, able to cultivate a Utopia, being faithful to the praxis. His theatrical works have been concerned with the didactic tone of texts about production, with the adaptation of ancient texts - captured by the enchantment of distant systems of thought - , with the ermetion of stiking fragments and clear synthesis of his last period but he has never stopped interm ingling history and Art.
According to him, the stylistic elegance of the text has always been tied to the habit of the stage, with the intermediation of some interdisciplinary connections. At same time Müller as a " director of himself " , multiplied the valencies of his own texts, renewed thanks to the combining technique of approaching. Thus by the unconventional arm of irony, this poet achieved the direction of that theatre which was direct by Brecht, the refused inspired inspirer of his youth against whose shadow he had fought in his maturity, to be his heretic continuer and to re - balance his lesson through his own technique.