Freya Klier (born 4 February 1950) is a German author and film director. Before 1989/90, she was an East German civil rights activist.
Life Early years and confrontations with state authority Freya Klier was born in Dresden, the child of working-class parents. Her father, who worked as a painter and decorator, became involved in a fight when she was three, defending his wife. The man whom he hit was an off-duty policeman. Klier's father spent the next twelve months in prison while her mother was switched to night shift work. Freya and her four-year-old brother were sent to a state orphanage. The family were reunited a year later, but the children were from this point marked out as the children of political prisoners, a stigma that affected them adversely until the East German dictatorship finally crumbled into history in 1990.
In 1966 her brother, at the time barely seventeen years old, was accused of "slandering the state" and sentenced to a four-year jail term, following which she resolved to emigrate. As a result of the slaughter of war in the 1940s and massive emigration in the 1950s East Germany was desperately short of working-age population. By 1966 leaving the country – even temporarily – was for most people "against the rules" and impossible. Freya Klier nevertheless devised a plan to escape with an acquaintance from a Swedish theatre group, armed with a false passport and travelling aboard a Swedish merchant ship. Shortly before the ship was due to sail, in July 1966, she was betrayed and arrested. She was sentenced "for attempting to flee the Republic" (wegen "versuchter Republikflucht") to a sixteen-month jail term but served only twelve months, after which the four month balance was "suspended" for two years.
After school In 1968 she passed her school final exams ("Abitur") which under other circumstances would have opened the way to a university-level education, at the same time, due to the subjects studied, earning a diploma in mechanical draftsmanship. Her school years had involved a "twin-track" path, which for her generation was not unusual. Although she was a member of the party-backed Young Pioneers, outside school she was also participating in religious studies. Later, despite her membership of the party's youth wing (FDJ), she was also involved with the church-sponsored "Young Community". Once she had finished with school and prison she undertook various low status jobs including waitressing and post office work. She also took "behind the scenes" work with the Dresden Puppet Theatre.
Theatre career In 1970, thanks to the intervention of a Socialist Unity Party of Germany secretary, Klier was able to embark on a study course at the Theatre Academy in Leipzig, emerging with a degree in 1975. Next she received a contract at the Neue Bühne (theatre) in Senftenberg, a small town in the flat countryside north of Dresden, where she worked as an actress. Alongside the acting she also became increasingly interested in directing. That led to a four-year period of study at the Berlin Institute for Theater direction, for which she received her diploma in 1982. During the early 1980s she worked on productions of works by Fernando Arrabal (at Halle), Friedrich Dürrenmatt (at Bautzen), Carl Sternberg and John Millington Synge (both at Berlin).
In the 1970s Klier developed a growing interest in the cultural scene in Poland. That led her, almost unavoidably, to become increasingly critical of the reality of the communist states in central Europe. She tried to present her criticisms both politically and through her artistic work. The East German authorities were never receptive to criticism, however finely it might or might not be nuanced. Accordingly, at this time most of Klier's theatrical productions in East Germany were met with official suspicion or open criticism from the many channels employed by the party. Most of her productions found themselves rapidly cancelled or reconfigured ("uminszeniert"), so that relatively little survives of her own work. She was, necessarily, a member of the official "East German Theatrical Union" ("Theaterverband der DDR"), but found herself prevented from accepting invitations to work in theatres abroad – for instance in Hungary, the Netherlands and West Germany. Sources attribute this to the critical stance detected in much of her theatre work and to her involvement, from 1981, in the church-backed peace movement. Nevertheless, in 1984 she received a director's prize for the premier of "Legende vom Glück ohne Ende" ("Legends of Endless Joy") by Ulrich Plenzdorf at the Schwedt Theatre where she was working between 1982 and 1984. Despite, or possibly because of this accolade, she left the theatre that year, and in 1985, after resigning her party membership in April, she was served with a ban on further professional work.
Beyond theatre Klier became increasingly involved with the Pankow Peace Circle in East Berlin during the early 1980s. The Pankow circle was, for many years, one of the more active and high-profile (but still localised) opposition groups cautiously emerging at the time. She was nevertheless internally conflicted because of her professional goals, and tried to integrate her artistic ambitions and her political goals. That was not always easy. In July 1981 she staged a small production for a church peace festival despite the threat of exclusion from the Institute for Theater direction (at which she was studying). Her preference for true facts also made the authorities nervous. In order to provide a factual basis for the social critique incorporated in and promoted by her artistic work, in 1983 Freya Klier began to make systematic enquiries of women with children about their home lives. She had herself been a single mother since the birth of Nadja, her daughter, in 1973: she knew from personal experience that there was a stark contrast between official propaganda and the actual condition of women in society. But her questionnaire based approach threatened a national taboo. Sociological or demographic studies were to be undertaken only by a small number of researchers who enjoyed the confidence of the party. Otherwise there was an ever-present danger that "right theory" might be undermined by "false empiricism".
Stephan Krawczyk In February 1984 Klier met the songwriter Stephan Krawczyk. At the start of the 1980s he was a member of the still younger generation of artists whom the authorities confidently saw as the great hope for the nation's artistic future. He had won first prize at the 1981 National Song Festival and was, naturally, a party member. It was only in April 1985 that he resigned his party membership". Krawczyk had by this time become something of an iconic figure, especially for younger East German fans: later in 1985 he and Klier were both served with what amounted to a nationwide ban on professional work (Berufsverbot), which was linked with exclusion from the national "Theatrical Union" ("Theaterverband"). The authorities, with a characteristic absence of subtlety, sought to destroy Krawczyk's fan base, describing him as a "national enemy" ("Staatsfeind") and even as the "new Wolf Biermann".
Opposing dictatorship Over the next twelve months the two of them worked together on a programme of dramatic pieces and prose readings critical of the "socialist" society. These received supportive responses from audiences of church groups and in community halls. The authorities responded by pressuring the church authorities to block their appearances. But as matters turned out there were more and more churches and community groups that continued to provide them with venues for their presentations. Klier and Krawczyk (who married in 1986) also found themselves deluged with official ordinances and injunctions.
During 1985, believing that she had identified the roots of the country's dictatorship in its education system, Klier began a new questionnaire-based research project into the East German education and training system. She conducted structured interviews with young people and, from 1986, with teachers, revealing a picture of a society riddled with dishonesty, depression and hopelessness. At the same time she found that the limits of the state's ideological power to influence had been reached, and that most young people of the 80s generation – if only inwardly – resisted the party's preposterous claims for the society over which it presided. Klier's researches were written up and presented early in 1990 in her book "Lüg Vaterland. Erziehung in der DDR" (loosely: "Lie, Fatherland: Education in East Germany"), the publication of which excited much attention during a critical year in East German history.
While Klier and Krawczyk were still in East Germany she communicated the results of her researches in Samizdat publications, and incorporated them into presentations critical of the social system that she continued to give in churches or private homes. The Ministry for State Security (Stasi) subjected them both to a programme of intense monitoring, identified in their files as "Operation Sinus" ("OV Sinus"). As a result of Stasi interventions it became increasingly difficult to organise presentations. Their car was tampered with several times: on at least one occasion the brake cable on one side was cut. Krawczyk experience a nerve gas attack as he was opening the car door. In addition to conventional harassment techniques Klier and Krawczyk were subjected to the ministry's infamous Psychological Degradation ("Zersetzung") tactics which were, as intended, psychologically damaging. Nevertheless, unlike her sixteen-year-old self, Freya Klier was now determined to stay the course and not to abandon East Germany.
In October 1986 Klier was a co-founder of the "Solidarity Church", an opposition group that sought to create a network across the country that took a critical position in respect of the one- party dictatorship, and she became a member of its co-ordination committee. She was nevertheless not without her own criticisms of it. Her personal experiences made her all too conscious of the shortage of that "solidarity" which the group purported to represent, and she called for more radical thought and action. Her contribution was more individualistic and less "collegiate" than that of many of the opposition activists in the build-up to the so-called "Peaceful Revolution". She always remained in touch with the more important of the opposition groups, however. Because her activities involved much travelling between the country's various regions, she was able to network intensively between opposition groups on a personal level.