“Three times left is on the right” – Schauspiel Leipzig: Not careful and already Hitler salute

“The old world is dying, the new one is not yet born: it is the time of the monsters,” said performer Kristien de Proost pathetically and attracts the audience to the ice. After the final applause, she steps on the stage again. But her plea for freedom of art, which culminates in the famous Gramsci quote. Left -liberal demands are transformed into right -wing libertaries and suddenly the Leipzig residence is abolished as a preventer of freedom of art. Instead of the performance stage of the Schauspiel Leipzig, there is a species-sausage stand with brass music, on which the actors pour beer.

Although de proost struggled to empathy for her role, she masterfully slips from left to right and brings the audience to falter. Together with her partner, the actor Josse de Pauw, she performs an unequal couple, based on a real role model. In the marriage of Caroline Sommerfeld and Helmut Lethen, an activist of the Identitarian Movement meets a 36 -year -old cultural scientist who received a ban on work in Germany as a Maoist in the 1970s. The relationship between the old link and the new right forms inspiration and starting point for Julian Hetzel’s staging. With quotes from Sommerfeld, everyday moments and grotesque, pictures are revealed in the family portrait of social cracks and ideological relationships.

Neither unusually nor unproblematic, the exciting love begins as a flirt between a doctoral student and a professor. In a lecture, de Pauw instructs the audience about the mechanisms of normalization: if you are surrounded by violent words and deeds, you get used to it and wear it with you at some point. In the first tableau, the student still asks about the role of the media, later she swayed her husband’s ideas. Because what is intended as a lesson against brutalization in National Socialism is also suitable as a guide to right meta policy.

For the power of normalization, the staging »three times left is on the right« is absurd and painful pictures. After an accident, the figure of de Pauw realizes that his right -wing pubed arm is stretched up. He asks the audience to be unpleasant intensely for solidarity: if we all raise our right arm, it is no longer strange. With us it could only be an accident. Not watch out and already Hitler salute. The experimental setup is full of tremendous possibilities. While de Pauw struggles impressively, there is uncertainty above the grandstand: Does anyone pick up his arm?

The staging leads the audience to their pubic and pain limit. At the beginning, the numerous trigger points flicker: age discrimination, stroboscope light, politically correct language, discriminatory language, cannibalism, etc. The framework sharpens the viewer a critical attitude, he cannot prepare it. Because the nurry of left-wing ideas, the appropriation of Gramscis Hegemonia theory by the new right Alain de Benoist, is taken literally here. They have just had sex, then the old link leads the new rights to process its meat. Blood fountains inject on the slogan “Never Again is now”, which was wallpapered in the background. The “cult of guilt”, to which his wife’s professor attaches, is cleared to the intestine. To the bratwurst, the right-wing intellectual only uses the useful parts. Together with chunks of meat, she turns the concept of freedom of the 68 through the wolf. Once at the right, only the right of the stronger remains of liberalization and emancipation. On the stage into an intestine and fried, the bratwurst still tastes of the couple. They consume the shared meat in a blatant.

Not only the martial representations, but also the willingness with which the professor can be shared, contribute to the horror of the scene. It is one of the few theater moments where blood and intestines do not aim at effect, but on ideology. A handful of people leave the hall, the rest remains with a bleak picture. In the red light, the blood and the never reproduction letter are wiped out. There remains a black, historical frame, a “red world”, as the right-wing intellectual says, in which neither the future nor the past is tangible.

Bahadir Hammdemir’s lighting design, like the music of Frank Wienk, appears as an independent player in the performance supported by the outstanding game. In a robot column, a broken brace interrupts the scenes without musicians and drives the racist rage of the right-wing intellectuals with his beat. In addition to a washing machine and flickering neon light that turns up in the spin, their fear of alienation and Islamization increases. In the overtitle, true intentions and what sounds justifiable in the debate, on “limits to” will “shoot” at the border. Emotions pour into a right frame work and shift the sag and conceivable.

“Three times left is on the right” shows how left -wing ideas and people can hike to the right. With drastic images and ingenious humor, the staging dissects the ideological mixture without giving false hope. Even the defense of freedom of art turns into the abolition of the culture that de Proost demands in her speech. At the sausage booth you chew at the open future scenario. Right cultural politicians are already stamping theater avant -garde and contemporary art as decadent and elitist and demanding the middle deprivation on behalf of the people. The art sausage, Hetzel’s provocative answer to the debate, may be more suitable for mass, but the decision between ketchup and mustard is not aesthetic. This requires the border tour that turns everyday experience through the meat grinder.

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