Directing projects on the theme of Classic

20.01.2023

Drama production

© Manuela Seethaler

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On January 20 and 21, the Thomas Bernhard Institute, in cooperation with the Department of Scenography of the Mozarteum University, presented Philoktet by Heiner Müller, Gaia in a version by Till Ernecke and The Bacchae by Euripides, three directorial works on the theme of classical music at the Theater im KunstQuartier. 

Directing works: CLASSIC

The Bacchae of Euripides

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Director: Lea Oltmanns
Stage: Ella Hölldampf
Costume/Make-up: Iggi Bühler
Sound: Alexander Bauer
Dramaturgical assistance: Laura Bernhardt, classical philology advice: Sophia Ortner 

With:
Dionysus: Payam Yazdani
Kadmos/Messenger: Alexander Smirzitz
Pentheus: Lena Plochberger
Messenger: Fayola Schönrock
Chorus of the Bacchae: Daryna Mavlenko, Mariia Soroka, Mariia Tkachenko, Daria Samoylenko, Anastasiia Shakirova, Marko Sonkin, Fayola Schönrock, Payam Yazdani

The team questions the speech act and construction of gender in Euripides' "Bacchae", as well as the ambivalence of fear of losing authority and the longing to unite with those oppressed by heteronormative bisexuality. What do we have to oppose the rule of the fathers? And who is willing to give up power?

Gaia 

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Director: Till Ernecke
Stage/Costumes: Marina Calabrese
Dramaturgical assistance: Nico Lenz-Oberngruber

With: Valerie Martin, Jonin Herzig, Juliette Larat, Rachid Zinaldin

The war against Gaia is coming to a head. White silence announces the final round. Into the silence, questions are addressed to the oracle: What damage have we done? What can we do now?

Philoctet/Pain after Sophocles

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Direction and music: Carla María Schmutter
Stage and costume: Lucas Bertin, Christina Winkler

With:

Philoctet: Martin Rudi
Neoptolemos: Mariusz Golec

"When I consider how general illness is, how tremendous the mental change it brings when the light of health fades, what deserts of the interior an attack of influenza brings before one's eyes, what abysses a rise in temperature reveals - when I consider all this, and I am so often compelled to do so, it seems truly strange that illness has not taken its place among the principal themes of the theatre." (after Virginia Woolf)

It is impossible to criticise an exploitative system when your brain is on fire with pain. This much-reduced Philoctet negotiates the personal: The story between a sufferer, and those dependent on him, who tries to deal with that suffering.
Central to this is the representation and untranslatability of pain. Why is it so difficult to have understanding and patience for people with chronic suffering? How can we find ways to communicate our pain?

The Holy Church of the Merciful Parzival

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A performance at the Thomas Bernhard Institute

Director: Paulo Jamil Sieweck
Stage design and set: Nogati Udayana
Acting and concept: Esther Berkel, Colin Johner, Adrian Weinek, Paulo Sieweck

Philoctet by Heiner Müller

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Director: Henry Schlage
Stage and costume: Yoko Ann Idler

With:
Odysseus: Linda Kummer
Philoctet: Marie Eick-Kerssenbrock
Neoptolemos: Carl Herten

Spirits of the Dead: Odysseus, Neoptolemos, Philoctet, who, awakened from their sleep, must dreamwalk their way deeper and deeper into the bloody web of war. War on Troy, war between three people and three world views, war in their minds and bodies. The necessity of dehumanisation and the consequent tearing of souls.

"Spit out your compassion, it tastes of blood." (H. Müller)

Maid of Orleans by Friedrich Schiller

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Director: Giulia Giammona
Music: Johannes Broemmel
Set design: Marinus Halbing
Assistant Director: Sophia Nimak

With:
Sandra Julia Reils
Annalisa Hohl
Joseph Lang

I have only dreamed of these kings and battles /
And deeds of war only dreamt - they were /
Only shadows that passed me by

Mary Stuart

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Director: Alek Niemiro
Stage/Costume: Laura Trilsam
Video: Alek Niemiro, Laura Trilsam

With: 
Elisabeth: Imke Siebert

Mary Stuart: Victoria Kraft
Leicester: Ben Engelgeer

Wars end, camps retreat and once again there are only losers. The supposed winners now write the history. They decide the narrative. Who was just a follower, who is responsible and most importantly, who do you need. There is a division between the "good bad guys" and the "bad bad guys".
Mary Stuart is a play about power and dependencies. Two of history's greatest figures meet in a struggle for power, forgetting the human.

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