Munich Kammerspiele: “Anger” by Elfriede Jelinek: you are debt – Tagesspiegel

The American president speaks of “was against terrorism”, the war against terrorism. The last syllable is however no longer be heard. They bagged under a Pegida Choir away: “We are the people”. Later reported a musician of the Eagles of Death Metal, who played during the terrorist attacks of 13 November 2015 Paris Bataclan to have halting voice, survived by the many corpses and his guilt.

begins with this sound collage Nicolas Stemanns premiere of the new theater text “anger” by Elfriede Jelinek in the Munich Kammerspiele. Leading the way, because “anger” is actually a terrific writing attack, which compresses the noise of our times on 114 pages. Of course no role or character mappings: “How just always so,” says Stemann, considered Jelinek premiere director par excellence for almost 15 years (next to Johan Simons and Jossi Wieler) and itself is on stage here

In “rage” coming IS terrorists and Pegidisten, religion advocates as -verächter, Wutbürger from the center and from every conceivable edges equally to word. Your rhetorical figures overlap each other aware; sometimes becomes apparent only after several sentence cascade, who actually is speaking. Finally the angry subject may at any time switchen, tilting or slipping in their own bubble.

From the fury of the IS terrorists it comes umstandlos to anger the affluent citizen West

Stemann illustrates this Jelinek ‘ cal writing method once in a laconic image: “guilt,” he pinselt with blood red paint on a canvas. And in a second, opposite: “We are to blame.” He then goes back to the first screen. From “blame” is now “debt”. And finally, in a next step brush, “You are debt”. Just wandering in Jelinek anger the IS terrorists on the West to anger the affluent citizen West to the Greek Staatsschuldenkrisler to subsequently extrapolate the furor of the ancient Greeks heroes Herakles extinguishes his family in the madness – and eventually culminate in hatred of collected Internet Forum Shit Stormer on anything and everything. The anger is not particularly differentiated than naturally, but unfortunately more destruktion more effective status quo: “We sit down with nothing more apart, once we are together.”

Now Jelinek would obviously not Jelinek when to be expression their Klarsichtigkeiten unserved prefers the pun; underhanded barbs understood. And Stemanns staging is here once again, absolutely on par. There is so much going on in the four hours that the evening is subjective faster to end as one or the other Anderthalbstünder elsewhere. And that because sometime the hall doors are opened not only and you can go out and come back at will. But mainly because Stemann and the great actors septet and the musician Thomas Kürstner and Sebastian Bird rapidly layers to box.

The text was written a year ago. Since the terror goes on, it must be updated

Since the actors are aimed at Katrin Nottrodts scenario that can be as stuffy petit bourgeois living room just as the theater in the theater, such as Shitstormler with three-dimensional turd on two-dimensional canvas faces on stage which then in the next shot actually is – the classic mechanism of hate speech precisely – feces to wipe from the face. Annette Paulmann screwed up in grandiose hochnotkomisch “foaming” Wutmonologe inside to suddenly – a central stylistic devices that evening – clear switchen in the analysis: “It can be seen in this state, nothing more. In the anger there is no doubt. “Meanwhile, one of the musicians has been Steve Reich’s” Piano Phase “alluded, who had recently performed in Cologne strange Kulturwutbürgerprotesten.

The last note has not yet faded, stands already the young actress Julia Riedler ready to invite Jesus to “chamber-Party”. All spin in appropriate costumes, of Buddha on Zeus to Santa Claus and the Flying Spaghetti Monster. Only “Mo” is missing: Mohammed. The then still arrives in the form of the great Franz Rogowski. Namely in gold skirt. And of course, only to – Tagged pictures ban – to insure that he is “not Mohammed” was: “I am a Jan-Böhmermann Cartoon.”

Even with the satire are Jelinek and Stemanns like grobhumoristischen even aware means absolutely on par – and the Bildverbots- and satire covers incidentally fundamentally for the evening. Because actually originated Jelinek text a year ago. More specifically, writing occasion were then the terrorist attacks of January 2015 to the satirical magazine “Charlie Hebdo” and a Jewish supermarket in Paris. Reality has the text since unfortunately overtaken so Stemann and his team also continued to write him on stage so to speak. From this perspective, of course, is not to be hoped that the evening has to expand soon to Zwanzigstünder.