andEn-hour theater. Ten hours of antiquity, Prometheus, Troy and Oresti, ten hours of fighting for destiny, self-determination and your own path, full of violence, cruelty, courage, fear, hope-yes, especially In the last kitsch, your eyes are driven by tears. When the sun rises like a ball shortly before midnight, the huge summer building, the actors lie exhausted on the football field, the Matze Pröllochs on the drums are shrouded in the fog, which is usually accompanied by the cathartic moment of this day, it is a picture It’s a simple picture, but it’s also very touching. It must be because the audience stood behind and clapped and didn’t want to stop at all.
Christopher Rüping’s award-winning “City of Bacchus” held a much-discussed premiere in October 2018 under the leadership of Münchner Kammerspiele director Matthias Lilienthal, summer architect and Mousonturm director Matthias Pees and Valerie Göhring acted as playwrights together and opened the “Great Frankfurt Bacchus Festival” in Offenbach “on the Caesarean Promenade, based on a multi-day festival commemorating the ancient Greek god Dionysus. The fact that it was exhibited again is very special in itself.
The audience almost filled the whole stage
Visitors came from all over Germany, and the performances next weekend have been sold out. Then also in this building reminiscent of the Colosseum, the three-story red and black box floor, the audience sits almost around the entire stage. Nothing can escape them. They belonged to it and participated in Prometheus, Zeus and Io, Achilles, Hector, Hekabe and Andromach, Cluteniestra, Aguistus, Ecuador The suffering of Lektra and Orestes. At the end of the first of the three tragedies, Prometheus hovered above their heads, covered by the white dung of an eagle that had been eating liver for thousands of years, and was lifted to dizzying heights by a huge crane. Being punished by Zeus for faith is in human beings and his own potential by bringing fire, science, and technology to them to oppose the will of the gods.
It is as if the “City of Dionysus” was built for summer. When Nils Kahnwald (Nils Kahnwald) talked about the performance in the first few minutes and asked the audience like a humorous introduction by a circus director, when the audience indicated “green” on the smoker’s bench in the play, one A row of chairs came out of the Munich subway station and smoked a cigarette while the play was going on in front of them. When in the third part of Oresty, the stage was crowded with ouzo-drinking spectators. They almost experienced Agha like other actors. The bloody decay of the Mennon family, the take-off of the non-ventilated design, Baus pays. Therefore, some people think that with the visible and audible reactions of the audience and the binge drinking on stage, this may be the Bacchus festival in Athens thousands of years ago.
The first wanted order “069”
Munich, Berlin, Offenbach and Frankfurt, of course, this series of venues cannot be completely without comment. Therefore, the first bar of the arrest warrant “069” was not to knock the gong, but to summon the audience back to the box after a break. Elektra and Pylades want to spend their last beautiful day in Offenbach before being executed, eat some green sauce, and jump into Main. This is not necessarily the case, but the locals think it is interesting.
Laughter and some plain jokes are part of this drama marathon, which is good because they temporarily took their breath away from the uninterrupted violence of the story. However, in the foreground, Niels Kahnwald, Benjamin Rajapur, Maya Beckman, Gro Swanje Korkhoff, Majid Feida, Jochen Noh and Wei Booker Morenhauer’s performance was intoxicating and incredibly attractive, accompanied by Jonathan Mertz and Maze Plocus’ and Jonas Hall’s music. Ten hours of drama may be common in ancient Athens, but in Germany, which was impatient and ruined by entertainment in the early 21st century, they were a test of spirit, ability to dedicate oneself, and love of drama.
But this work effortlessly attracted the audience’s attention. Sometimes this is because what happens on the stage is easy to decipher and has spectacles, and Oresty is staged in the style of “good times, bad times” as a soap opera. This does not change the strength of the material and the actors, they did great things together. Prometheus of Radjaipour almost tore your heart in his suffering for the so-called good deeds, Mollenhauer’s dialogue between Menelaus, Helena and Hekabe has terrible charm and insight, and the dialogue of Trojan women who were relegated to prey is more than ever Both are more topical, and their sharp feminism is more popular than ever.
What kind of species do we want to be? Are we worthy of what Prometheus gave us? When observing humans, do you feel disgusted with aliens somewhere in space as Nils Kahnwald said at the beginning? Why do we do what we do, wage war, be cruel, let one evil produce another and get rid of this spiral forever? “The City of Dionysus” asks about fate, predestination, and the power of the gods. It tells of people’s desire to indulge in their own greatness, want to destroy the gods, and decide their own path. then? This problem still exists. Even after ten hours, there seemed to be no end before, and then it passed quickly. My head is full of thoughts. Oh, theater!
