There are so directors who need more than regular working hours for this substance. As Peter Stone nine years ago in a former brewery in Berlin-Neukölln staged the demise of the commander Wallenstein, flashed not only the uniform buttons so the history faithfully and Degenknäufe so retro as nowhere else more in the theater. But also Friedrich Schiller’s text was almost presented unabridged: three plays at a time. That took time nearly twelve hours.
Measured this illustrates stone industry colleague Michael Thalheimer at the Berlin Schaubühne now pleasantly sporty. He just needs a limp quarter of the time. After one hundred and eighty minutes – show ballad without intermission – engages the renegade Buttler (Urs Jucker) Wallenstein already from behind by the throat. He does so generously spray the fake blood that – the really tragic stage action in defiance – here and there merry laughter in the auditorium sound like a splatter comedy. Yes: With unintended humor of the evening has a certain problem. More on this later. First Buttler heaves the general’s corpse on those oversized horses half, the martial admonishing dangling in Olaf Altmann stage throughout the evening from the flies.In Schiller Buttler has two assistants for the murder. But the 50-year-old Michael Thalheimer is the Minimalist par excellence among directors. With the precision of a surgeon, he carries off the expendable for his reading Szenenauswucherungen and secondary lines to advance the timeless essence of the texts. The result is highly concentrated and form strong evenings, actually leave the audience a centuries-old piece again see new ideally. Thalheimer Lessing Achtzigminüter “Emilia Galotti” fifteen years ago at the Berlin Deutsches Theater applies in this respect as a milestone.
shape consciousness and choreographed meticulously now presents itself this “Wallenstein” trilogy in the stage. Only with the surprising view there is such a thing. Initially, the optics are even gloomier aware: Art mists waft through the entire auditorium, to be pierced a dramatic Warrior Sound (music: Bert Wrede) in the public ear. Slowly only bloody figures peel out of the fog, paralyzed, wounded and naked except for underwear: zombies that are thrown not only in those Thirty Years’ War, in the plays of Schiller drama trilogy, but apparently for millennia see nothing but battlefields , War as a permanent condition – summed up in a five-minute photo: So much for “Wallenstein’s Camp”, part one of the trilogy.
Wallenstein as hardcore Patriarch
It is logical that become level, the tone in duration aggressive mode. Even Wallenstein daughter Thekla (Alina Stiegler) who with her mother at the beginning of the second part-dramas – “The Piccolomini” – strikes with her father in Pilsen, here any approach early adolescent romance is expelled from the outset. We are experiencing the Wallenstein as a kind of dysfunctional perfect family: The general’s wife (Marie Burchard) stumbles scared and spouses of hearing the false buttoned coat over the stage, which is empty except for those droopy horses half and consists of a floor mosaic of gratings
And Wallenstein himself – played by Ingo Hülsmann – thunders from the side hardcore Patriarch on scenario. He sprawls doing with his legs stretched out in a chair, from which he will rise throughout the evening only once, and then a time legs to stand on the ramp length. The Statuary is at Thalheimer program: The general who could possibly end the war, when he allied himself with Sweden against the emperor, although also very own self-aggrandizement addictions play a crucial role, squatting abendfüllend on the scenario.
And around him purring from the intrigues mechanics. His closest confidant – Octavio Piccolomini, who in Peter Moltzens nastier representation looks a bit like the butcher who is responsible for hanging horse half – acting behind Wallenstein back loyal to the Emperor and drives the disempowerment of the hitherto popular generals ahead. On stage this manifests itself so that the respective dialogue partners go towards the ramp, speak their texts and then withdraw to the colleagues at the rear wall of the stage box in which here are all caught abendfüllend.This could – even if it does not contain any surprising new reading and the decision for the said period of aggression on some inner conflict figure wegbügelt – in its concentration well be of consequence. But the actors go to the extreme discipline challenge that it means an approach very different to. Hülsmann’s Wallenstein remains in its hubris and especially in the emotion of their own (Feldherren-) qualities abendfüllend quite himself. Many others are less focused. And if this thalheimersche formal rigor is undermined, is of consequence fast-dimensionality. The rest of pathos which is admittedly so difficult that precaution as good as none at longer dares the theater turns into: unintentional comedy.
“Wallenstein” . Schaubühne Berlin, next performances on 6, 7 and 9 May and from 10 to 12 June at 19 o’clock. Tel. 030/890 023
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