Munich Residenztheater: Ulrich Rasche levels “Agamemnon” | EUROtoday

Ea metropolis has fallen. Is her title Irpin? Chan Yunis? Or Troy? At house, individuals triumphantly greet the downfall of the enemy’s homeland as God’s judgment. Interprets the struggle in theological dimensions, identifies the struggling of others as a way of increasing consciousness: πάθει μάθος – solely by means of the catastrophe that befalls an individual can an individual obtain deeper perception. The motion of this tragedy takes place in heroic primeval occasions, and but it appears disturbingly acquainted to us.

In the Munich Residenztheater, a gaggle of younger individuals pushes themselves out of the foggy darkness. They kind an incoherent collective, stroll in an alienated method throughout a turntable, marching in rhythmic unison in opposition to the centrifugal forces. The phrases that come out of their mouths are amplified, echoing by means of the auditorium as if it had been a stadium. They are harmful phrases which might be carefully tied to destiny. Every sentence that this marching choir begins can finish in a curse or a blessing. The choir’s feelings are extraordinarily risky: one second they’re thrilled by the power of their expression, the following second they’re frightened by the which means of their very own phrases, wince in concern and duck their heads.

Ducking beneath destiny

This choir embodies the spirit of citizenship. The opportunistic angle of the group. Those who categorical opinions within the safety of the general public however don’t need to take duty for them. They reward and condemn, warn and prophesy – with out private penalties. They duck destiny. Escape from what they name inescapable – on this case, indignant vindictiveness. She seems within the type of Clytemnestra. The lady who waited a very long time for her husband, who went to struggle, to lastly homicide him. So that his monstrous crime will be atoned for: slaughtering their daughter simply to please the gods. Pia Handel seems as if each step she takes has lethal intentions. She menacingly pushes her physique ahead little by little, in the direction of the martial act of homicide. From the start, bloody ulterior motives are mirrored in her expression. The victory over the enemy metropolis, which she proudly declares to her topics, pleases her for her personal causes.

In the center of the rotating disc, 4 musicians stand at two large wood sound our bodies which might be harking back to outsized marimba telephones. Leaning ahead in a trance-like method as if over holy sacrificial tables, they hit the sound plates with their wood mallets, giving the night a relentlessly driving pulse. The percussion finds a counterpart within the motion of the choir. He follows the resounding blows obediently, permitting himself to be guided and disturbed by them. It is especially efficient when the group splits up, with the boys marching on one facet and the ladies on the opposite – “Weapons and ashes come back, but no men,” complain the residents. “Whoever kills is seen by the gods,” the residents bitterly justify.

Demonic fermenting world

The means wherein director Ulrich Rasche levels the choir, how he shapes and frames it, makes it an individual after which releases it again into the indefiniteness of an goal occasion, is the excellent occasion of this theater night. Especially as a result of Aeschylus’ 458 B.C. The piece, which premiered within the first a part of the “Oresteia” within the 1st century BC, doesn’t truly concentrate on the actual circumstances of a civic group. Instead, it is about perpetrators who draw their power from a demonic fermenting world they share with gods and spirits. Quickly, nonetheless, the legendary imaginative and prescient is confronted with civil order and the archaic tragedy is thus subjected to a brand new form of stress.