Jelinek stage is like panning for gold in a mountain: The director gets it with a lot of debris to do. And with waste, voice drop from the discourses of the season, which has accumulated in the perk-musical downhill gurgling brook and now must be discarded. There are the Jelinekschen container pieces, fits into the thousands. Waste separation, however, is not provided. The Austrian Nobel Prize winner writes theater texts like other people declutter their attic: All the stuff which has insidiously and without any fault of their own concocted and accumulated up there and now oppressed, depressed and perhaps even followed in his sleep, has to go – in one large effort between even fun and at the end frees everyone involved in diffuse manner, but also disbelief, empty and exhausted leaves.
“anger”, the latest container piece of Elfriede Jelinek, was created in response to the attacks in Paris in January 2015 when eight members of the editorial staff of the satirical magazine “Charlie Hebdo”, two policemen and four customers a Jewish supermarket of Islamist terrorists were killed. The text is not tentative, but a swiftly in circles voranpreschende themselves constantly in the word falling exploring the phenomena anger and violence. It’s about jihadists and suicide bombers, fathers and sons, men and women, zealous gods and just such beloved, patriarchal and familial structures, the fear of the unknown, to exclusion and their often equally fatal contrary to the desire to kill, and to the instruments that are necessary to incite this desire to satisfy and legitimize. It is about resentment, racism, religion, social media, demagogy and Kalashnikovs.
The text is filled to nearly 120 pages with hate speech and Wutgesängen, anger, irony, despair, helplessness, corny jokes and sophistry. There are no figures, no dialogue, no plot. There are only themes and motifs and linguistic methods of their treatment. The fuel used is the association, the change in perspective sets the tone. Jelinek’s prose is language spieltrieb controlled, therefore it acts relish and compulsively simultaneously. Sound relationships are often as important as contexts. The Jelinek phrases move forward in a kind of stumbling sliding, the stumbling stressed resistors incessantly occurring in order to overcome sliding, even if only for the moment. These records belong to the family of invertebrates, they are pliable like caterpillars and as unerringly: They eat through everything. They know neither objective nor measure.
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Unabridged itself would “anger” in seven bringing to eight hours loose on stage. The director Stemann who takes the stage at the beginning of the evening in the Munich Kammerspiele as a master of ceremonies and will also be involved later eager thanked like the audience for the show ( “That’s very kind of you”), admits seemingly troubled, the play was once again become very long and then announces a first in the history of chamber games: a pause will not give it, but one should be in between get food and drinks. Please be careful with the landmarked furniture – “but you know this from home.”
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