He was outspoken about Berlin's cultural politics, criticizing leadership changes at major theaters like the Volksbühne and voicing his disapproval of policies he saw as detrimental to the arts.

His directorial legacy features landmark productions, including premieres of works by Heiner Müller and the controversial 'Heldenplatz' by Bernhard, which sparked significant public outrage and debates about Austria's Nazi past.

Throughout his career, Peymann was known for his provocative actions, such as controversial fundraising for a politically imprisoned figure, which highlighted his role as a societal provocateur.

Claus Peymann, a towering figure in European theater, was known for his passionate advocacy, innovative productions, and controversial political activism, leaving a profound legacy that spanned decades.

He served as the artistic director of the Berliner Ensemble from 1999 to 2017, where he broke audience records with bold interpretations of classics and emphasized the importance of love and societal engagement in theater.

Peymann's collaborations included working with renowned authors like Thomas Bernhard and Elfriede Jelinek, and he brought in high-profile artists such as Robert Wilson, making his productions both provocative and critically acclaimed.

Despite facing criticism for his outspoken nature and controversial decisions, including offering a stage internship to a former RAF terrorist, Peymann remained a committed advocate for the arts, often claiming that in his presence, boredom was impossible.

His theatrical style combined audacity with childlike wonder, often using classic works to challenge societal norms and provoke thoughtful discussion among audiences.

He was a polarizing figure, often described as difficult and autocratic, yet his productions drew large audiences and sparked critical discourse, emphasizing his influence on contemporary theater.

His tenure at the Berliner Ensemble was marked by record attendance and a reputation for bold, confrontational productions, often challenging critics and dismissing accusations of outdated classical interpretations.

Peymann believed theater should be a public and activist platform, voicing societal issues openly, contrasting with many of his peers who preferred to stay in the background.

Peymann's death at age 88 in his home in Berlin-Köpenick was announced on July 16, 2025, marking the end of a significant era in European theater, with his legacy celebrated worldwide.