Karin Kathrein, Influential Theater Critic, Dies at 88

Karin Kathrein, a pivotal figure in Austrian cultural journalism and former culture chief at "Die Presse," has passed away at the age of 88 in Vienna. Kathrein was a formidable voice, particularly noted for her passionate defense of playwright Thomas Bernhard and her support for Claus Peymann's vision for the Burgtheater during the 1980s. Her critical stance often stirred debate within the newspaper's readership and editorial staff, polarizing opinions but undeniably keeping cultural discourse vibrant.

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She had listened to the new laws of the poet's prose, which even the enraged Bernhard opposition could not deny the pull.

Kathrein cultivated a close relationship with the reclusive Bernhard, often securing statements from him during his frequent public controversies. She possessed a keen understanding of his work, recognizing the avant-garde nature of his theatrical innovations. While some critics and audiences initially resisted Bernhard's challenging style, Kathrein perceived the "dramaturgical consistency" in his plays, even when they seemed to lack conventional narrative drive. She appreciated the rhythmic complexity and profound humor, as well as the darker undercurrents, that actors like Bernhard Minetti and Marianne Hoppe later brought to life on stage.

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She had understood Thomas Bernhard's rhythms.

Her critical reviews were characterized by a deep engagement with the literary text, carefully bridging the gap to the actual performance. Kathrein had an "unerring sense" for identifying the lasting artistic merit within contemporary productions, guiding readers beyond fleeting everyday excitements toward what she considered "permanently valid" aesthetic achievements. This ability made her a distinctive critic whose reviews were consistently insightful and often served as a compelling invitation to experience challenging theater, even when advised against it by others. Her judgment, in retrospect, was frequently proven correct.

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She had an unerring sense for this. That made her a distinctive critic whose profound reviews, always starting from the literary text in the theater and carefully advancing to the current performance, were always read with profit.