Jedermann - Schedule, Program & Tickets

Jedermann

The game of dying of the rich man

OCCUPATION
Peter Lohmeyer Voice of the Lord / Death / The Game Announcer
Tobias Moretti Anyone
Edith Clever Everybody's mother
Gregor Bloéb Everybody's good friend / devil
Markus Kofler The chef
Helmut Mooshammer A poor neighbor
Michael Masula A debt servant
Martina Stilp The debt slave's wife
Caroline Peters passion
Björn Meyer Fat cousin
Tino Hillebrand Thin cousin
Christoph Franken Mammon
Mavie Hörbiger works
Falk Rockstroh Faith

After more than 700 performances in a century Jedermann is a central component of the Salzburger Festspiele DNA and continues to write down its history: a singular process in the German-speaking theater.
Conceived as a revival of a medieval morality modeled on the English Everyman, enriched by Hecastus by Hans Sachs and other sources, Hofmannsthal writes for years in a Europe of culminating conflicts on his Everyman. Always in the head a possible implementation by Max Reinhardt: "If, with passing years, the essentials of this dramatic entity were always imbued, at least in the subconscious, then the desire and freedom to act arbitrarily with the material gradually began to stir. His real core was more and more revealed to be absolutely human, not belonging to any particular time, not even inextricably linked to Christian dogma; only that an unconditional striving for the higher, the highest must then decisively come to the aid of man, if all earthly loyalty and ownership proves to be apparent and soluble, is here brought into an allegorical-dramatic form, and what more could there be for us? "The risk that Hofmannsthal explicitly describes here as freely dealing with the material, and its thematic repatriation, which is neither temporally nor dogmatically bound, form the ideological center of power of Everyman.

"Essentially, the Jedermann asks the question: What happens when death enters life? Death is so repressed in our culture as never before in human history. We try to isolate ourselves from our finiteness and to minimize our exposure to it, but in the end it is clear to all: In order to lead a conscious life, it is necessary to find a reflective approach to death. This is basically part of life. At some point, man has to deal with death; he will not escape this confrontation. The mystery surrounding this mystery of the death of man and his encounter with death exists in all religions and cultures. And since people have been singing and writing, producing art and images, she has been working on this topic.
Our production aims for a contemporary interpretation. We are picking up people in the present and trying to touch them with a story that has great relevance at all times.
There is little evidence of time in Jedermann, apart from the style of the language. Hofmannsthal's language, which dates back to the turn of the twentieth century, creates an age of the Middle Ages, something classicist, a reworking of a different style, which, of course, says a lot about their own time. With the figure of the Everyman, which Hofmannsthal has tailored to the rich man, he specifies this man. Thus, his everyman becomes the game of the dying of the rich man. Despite this definition, everyone stands for all people, because all people have to die, and Hofmannsthal's Everyman finds it particularly difficult to separate himself from the worldly. That's the point.
Although Hofmannsthal stylistically writes in the Middle Ages, he is still at a very different point in the history of literature. With Max Reinhardt he also had an extremely strong theater maker at his side, who - as Stanislawski at the same time in Russia - coined the development of the new job profile of a modern director. Significant part of the success of Everyman in Salzburg had the direct confrontation of the theater with the church in the game on the cathedral square, which wants to negotiate the last things, so the encounter between profane and spiritual. With the cathedral square Reinhardt found a place where he could collide these poles and develop for himself a very great theatricality. "

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