Theater premiere in Berlin: Julien Gosselin arranges “Extinction” | EUROtoday

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In a theater period that depends totally on updating and transformation, what the French director Julien Gosselin, born in 1987, formulates as a dramaturgical manifesto is putting: “Three years ago my company left the field of contemporary literature and turned to the past, of course with the view of seeing this old literature for what it was: dead literature. We did not use it as a reference to learn more about ourselves because it is current, but on the contrary because of its radically outdated aspect, because of the lost feelings and the conditions of society that were found in it. We were interested in everything that we no longer understand or feel.”

That seems like a program that wishes to interrupt with the dictum of a theater era fixated on the zeitgeist. Gosselin, who based a theater group in Lille in 2009 underneath the identify “Si vous pouviez lécher mon coeur” (roughly: “If you could lick my heart”) and who says he’s influenced by the literary history-informed nihilism of Michel Houellebecq, introduced himself ( after an aborted try on the Munich Kammerspiele 2016) to the German theater viewers for the primary time final June. Under the title “Sturm und Drang” he introduced the start of his historical past of German-language literature on the Volksbühne. This is adopted by the second stroke. Under the title “Extinction,” Gosselin exhibits an virtually five-hour marathon night with texts by Arthur Schnitzler, Thomas Bernhard and Hugo von Hofmannsthal.

Review of socializing

At the start there’s little that reminds us of “dead literature” and international emotional worlds. In the primary hour, the Berlin premiere viewers gathers round a DJ sales space in the fog and dances to arduous techno beats with free beer in hand. A handheld digital camera runs via the group and transfers the scenes onto large screens. The pictures which might be created stay appear rather more thrilling than what takes place in the ambiance of a backstage guarded by technicians. This instantly touches on a central function of the night: it lies totally in the gifted arms of the 2 cameramen Gian Suhner and Richard Klemm. They movie the 5 hours with nice finesse. After the techno celebration, on the finish of which two pals meet on the dance flooring and there’s discuss of a phone name from “Wolfsegg”, the look again on the historic time of sociability begins.

Maxence Vandevelde in “Extinction”

Maxence Vandevelde in “Extinction”

Bild: Simon Gosselin

Vienna, June 1913. A masked ball is widely known in the salon of a wealthy artwork collector. Schnitzler’s “Dream Novel” serves as a template or the visible fantasy based mostly on it for Stanley Kubrick’s “Eyes Wide Shut”. Albertine and Florestan are standing in the toilet and attempting to make love earlier than dinner begins. In the vestibule persons are already sipping champagne, taking part in the piano and having conversations. With nice talent, an imitation of the psychosexual ambiance that’s mentioned to have prevailed in the final years of the Austro-Hungarian Empire is created.