The weapons are already there, hopefully there will be freedom later: Frank Castorf meets “Danton’s death”.
Photo: Sebastian jump
How should you talk about the French Revolution today and the bloody and beautiful year 1789? And what can be said about the failure of the big change? As is well known, the decline after the short height rush continues. It is not stupid to look at the beginning of the end.
Only – where can this start find? But not in the restoration and not at the Ollen Bonapart on his galloping Gaul? Frank Castorf went looking with Georg Büchner and his revolutionary drama “Danton’s death”.
We remember: It is 1794, the king has been in his head since last winter. The struggle for the future of a free France is in motion. The girondists, too much connected to the old order, were disempowered; The left -wing radicals, social revolutionary Hébertists did not better. There remain the reputable Revoluchzer Georges Danton, who had just made his hands dirty for the September massacres, but now demands more republic and less revolution, and his opponent de Robespierre, the virtue guard with the soft spot for the guillotine. The latter should triumph for a short time before his head rolls.
As is well known, Frank Castorf does not appreciate to stage the classics from the leaf, as if he has no thoughts. And if he exposes not only freedom, but also her two sisters equality and fraternity as a whores, he calls his old well -known Heiner Müller to help. He had promised the world with his drama “The Mission” a “memory of a revolution”. Büchner’s work completes this piece about the unsuccessful export product revolution, through a slave uprising that is initiated in Jamaica and should help the new ideas from France. The revolution eats its children in their home country; In the distance, it is suffocated in the germ.
»Galloudec to Antoine. I am writing this letter on my death bed. ”This is the first sentences on this premiere evening last Friday in the Dresden State Theater. By Müller, not Büchner. Several times, “the order” Castorf has already served as a reference in his work, this time the piece is more than that. The whole drama unfolds, cut with Büchner’s dramatic chronicle of two weeks in revolutionary times.
We switch between Palais Royal in Paris and Port Royal in Jamaica. And it is suspected that you will not be able to afford dantonism in the British colonies in the Caribbean. The dead bed of the revolution is already prepared in one like the other world area.
A gigantic structure, walkable, rotatable and opened from all sides, put a different world on stage. “Procope” stands on a sign above the restaurant, in which the fine gentlemen apparently once fed and with which the emancipatory lives à la Danton do today. “L’Abhet qui parle …” – the speaking object – stands above the weapon business next door. A sign of the Citibank can be recognized on the side and reminds that the National Bank of France, located on the Bastille square, remained untouched when the uprising was rehearsed almost two and a half centuries ago.
If the rotary stage sets itself in motion or give us the live cameras an insight into the inner life of the stage design, further dimensions are revealed: an oversized portrait of Emiliano Zapata is ahead of the liberation struggles in Mexico; An advertising banner of the Beatles indicates the relocation of the revolution to the area of pop cultural and thus their removal.
The eleven -headed ensemble enjoys every director of the director. Under them, Frank Pätzold stands out as a reign of Robespierre. The revolutionary euphoria is transmitted. All the more cruel, the song on the struggle for freedom sounds. Müller’s laconic language strengthens the power of Büchner’s bulky drama, so that both authors benefit from each other.
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The three and a half hour first part of this theater evening ends in Heiner Müller’s monologue of a man in the elevator, a key scene from “The order”. After a flag is rolled over over the entire height of the portal and the entire stage envelops in red, Torsten Ranft gives the employees in the expectation of his order. Not knowing where to go in this elevator full of suit wearers. He speaks his text with a Saxon impact and does not lose himself in Klamauk, but clears up with the large revolutionary stage by each other and ensures great linguistic, literary, mental clarity. So you have never heard these lines. And you understand that it is not a minor matter who feels called to the revolution. The petty bourgeois was not born to fight barricades.
After this energetic beginning, you return to the audience hall euphorically after the break. But from Müller’s “order” there is only one scene, the clever entanglement of two fabrics has been canceled and, it seems that the sharp thesis powder from Frank Castorf is already shot.
A little “Hamlet” (which Castorf will bring out at the next game time start at the German Schauspielhaus Hamburg) finds its way into the staging. Otherwise, act three and four are brought to the stage by “Danton’s death”. In staging, this seems somewhat uninspired after the impressive first part and relocated to any clarity. And so for almost three hours, the further events were waving in front of them.
“Castorf’s theater has to hurt – everyone involved,” says a man in the row behind me, who wants to stage himself as a connoisseur towards his neighbor. But it’s not that simple. Completely correct: Castorf needs the long distances on stage; He only gets up to date with a time -run. His best evenings then are brimming with vitality – and suffering from suffering, in whatever part, cannot be mentioned. But with this production, the director was unable to find an end.
Robespierre wanted to defend himself against a “half revolution” by all means, which should only complete the guillotine. Perhaps the courage would have needed to make this “half staging” a bit shorter with a sharp blade?
Next performances: 3rd, 17.5. and 8.6.
www.staatsschauspiel-dresden.de
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