Polyphonic message of salvation including Jesus – derStandard.at

Munich – The silence occurs in Elfriede Jelinek’s texts out all the more clearly when it happens in the midst of overflowing phrases, Alexandra Millner wrote in Jelinek Manual (Metzler 2013). With 224 fully written A4 pages, including the recent speech stream of the Nobel Prize winner, is therefore to considerable silence amounts

To repressed, not Austrian, but the German present concerns in this case. Jelinek The Silent Girl refers to the current in Munich since May 2013 NSU-process, in which the right-wing terror cell National Socialist Underground of ten counts of murder accused. The racist murder of immigrant small business owners have long been erroneously also high (political and media) instances, a “Turkish Mafia” zugeschanzt.

Aims Jelinek with their writing process (up splitting perspectives, meaning fractions, etc.) usually on the visualization of the speech act, so here it is the marking to make the act of silence. The main culprit Beate Zschäpe contains since the trial began with the statement.

At the Munich Chamber matches, where the drama was premiered on Saturday in front of a highly concentrated audience, director Johan Simons reduces everything Scenic seven front of the ramp sitting speaker , one formed by different voices court podium: a judge with an enchanted eye and helpless gestures (funny: Thomas Schmauser), a woman and a man of the people (Annette Paulmann, Hans Kremer), three speakers in head scarf dresses (Benny Claessens, Wiebke Puls, Steven Scharf) and a sad Jesus, who for all just a few words (Risto Kübar).

You all are no consistent figures, but blur the what they actually of what is said and by their dress seem to be, again and again (Costume Designer: Klaus Bruns). Accompanied their often read from the journal passages of centrally positioned on a central stage podium musicians. Simons sees the text as a libretto, a common practice among Jelinek, and shortened down to about a quarter to two hours of play time.

box Heimaterde

A man in the audience (Stefan Hunstein) still drags on a Kist native soil; it is empty. Everything else in the stage background, inter alia, a large portal with the inscription “Official inheritance” (Platforms: Muriel Gerstner), in semi-darkness this evening at the theater remains as a memorial are fatal (the inheritance Office is one of the invented and marketed by the NSU Board Game “Progromly”). This scenic reserve is consistently radical and is the effect of the text and its ways of speaking benefit.

Jelinek linked the crimes and their concealment with the Christian history of salvation, can angels and prophets talk (“the truth has come by God” or “Get the message!”). And these terminate the Redeemer as long as the victims of waiting for a full investigation (be).

Despite only less scenic maneuver it is always exciting. Simons focuses everything on the gestures of the voice-Erhebens and succeeds so that a comparatively restrained, but no less effective confusion with always lurking false notes.

(DER STANDARD, 29/9/2014)