Der Theatermacher - Schedule, Program & Tickets
Der Theatermacher
An artist comedy by THOMAS BERNHARD
Directed by KAY VOGES
The run-down inn in the middle of the sleepy village of Utzbach: here, of all places, Bruscon, the legendary and famous state actor, stops during his theater tour! Bruscon, who recently feels called to play the role of playwright and director, wants to triumph here with the performance of his epochal and confusing human comedy THE WHEEL OF HISTORY. Kierkegaard, Caesar, Metternich, Hitler - of course Bruscon plays all the main roles, on and behind the stage he is supported by his wife and the children Sarah and Ferrucio.
And yet everything here in Utzbach speaks against him from the very first second: According to Bruscon, the stage floor is too rotten, the air too humid, the innkeeper too lazy, the country crowd too stupid, the children too incompetent and the wife too hypochondriac. It would be the greatest disaster, however, if the Utzbach fire brigade insisted on leaving the emergency lighting in the hall on at the end of the play - because then its staging would be finally destroyed!
DER THEATERMACHER by Thomas Bernhard, long a modern classic, is, strictly speaking, a wonderful paradox: an endless monologue of hate on the theater by someone who lives only for and from theater. Deep down, it is a great declaration of love for the stage, for all these ridiculously desperate theater people - and for their unwavering belief in the necessity of art. Because no matter how hopeless the situation is: The curtain has to go up, THE WHEEL OF HISTORY keeps turning. Would good art even be conceivable without real megalomania? Bruscon is a prime example of Bernhard's cabinet of figures: on the verge of madness, irresistibly grumpy and opinionated and at the same time unrestrained in the sensuality of his language.
35 years after the premiere at the Salzburg Festival, the echo spaces of the piece's text have noticeably tightened: The final opinions of the art tyrant Bruscon burst right into the present and necessary debates about artistic freedom and abuse of power. At the same time, we repeatedly experience those rants and feedback loops of indignation on the Internet that characterize Bruscon so much. Online everyone can now become their very own Bruscon in their very own Utzbach - outrage for everyone, except for the globe glowing on Facebook!
Kay Voges ’new production of THEATERMACHERS (including longlist for the Berlin Theatertreffen 2019, invitation to the NRW Theatertreffen 2019) invites you to a big showdown: Will all the indignation in Utzbach, on the street and on the internet become an uncontrollable explosive device - or will it fizzle out? With Bruscon's limitless hubris, is it possible to notice the involuntary comedy of the non-stop indignation loops?
Subject to changes.
Directed by KAY VOGES
The run-down inn in the middle of the sleepy village of Utzbach: here, of all places, Bruscon, the legendary and famous state actor, stops during his theater tour! Bruscon, who recently feels called to play the role of playwright and director, wants to triumph here with the performance of his epochal and confusing human comedy THE WHEEL OF HISTORY. Kierkegaard, Caesar, Metternich, Hitler - of course Bruscon plays all the main roles, on and behind the stage he is supported by his wife and the children Sarah and Ferrucio.
And yet everything here in Utzbach speaks against him from the very first second: According to Bruscon, the stage floor is too rotten, the air too humid, the innkeeper too lazy, the country crowd too stupid, the children too incompetent and the wife too hypochondriac. It would be the greatest disaster, however, if the Utzbach fire brigade insisted on leaving the emergency lighting in the hall on at the end of the play - because then its staging would be finally destroyed!
DER THEATERMACHER by Thomas Bernhard, long a modern classic, is, strictly speaking, a wonderful paradox: an endless monologue of hate on the theater by someone who lives only for and from theater. Deep down, it is a great declaration of love for the stage, for all these ridiculously desperate theater people - and for their unwavering belief in the necessity of art. Because no matter how hopeless the situation is: The curtain has to go up, THE WHEEL OF HISTORY keeps turning. Would good art even be conceivable without real megalomania? Bruscon is a prime example of Bernhard's cabinet of figures: on the verge of madness, irresistibly grumpy and opinionated and at the same time unrestrained in the sensuality of his language.
35 years after the premiere at the Salzburg Festival, the echo spaces of the piece's text have noticeably tightened: The final opinions of the art tyrant Bruscon burst right into the present and necessary debates about artistic freedom and abuse of power. At the same time, we repeatedly experience those rants and feedback loops of indignation on the Internet that characterize Bruscon so much. Online everyone can now become their very own Bruscon in their very own Utzbach - outrage for everyone, except for the globe glowing on Facebook!
Kay Voges ’new production of THEATERMACHERS (including longlist for the Berlin Theatertreffen 2019, invitation to the NRW Theatertreffen 2019) invites you to a big showdown: Will all the indignation in Utzbach, on the street and on the internet become an uncontrollable explosive device - or will it fizzle out? With Bruscon's limitless hubris, is it possible to notice the involuntary comedy of the non-stop indignation loops?
Subject to changes.
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