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In Germany, New Plays Consider Autonomy in the Age of Corona In Germany, New Plays Consider Autonomy in the Age of Corona
(1 day later)
HAMBURG, Germany — Late last month, I shared a picture on Twitter of the audience at the Thalia Theater shortly before a performance.HAMBURG, Germany — Late last month, I shared a picture on Twitter of the audience at the Thalia Theater shortly before a performance.
It generated both envy and indignation from users outside Germany.It generated both envy and indignation from users outside Germany.
A critic predicted New Yorkers wouldn’t be returning to theaters anytime soon. “Where are the masks?” someone else asked, prompting the theater to weigh in and explain its policy: keeping shows to a reasonable running time, using a ventilation system to change the air regularly, socially distanced seats and masks required everywhere except when seated.A critic predicted New Yorkers wouldn’t be returning to theaters anytime soon. “Where are the masks?” someone else asked, prompting the theater to weigh in and explain its policy: keeping shows to a reasonable running time, using a ventilation system to change the air regularly, socially distanced seats and masks required everywhere except when seated.
In America, where the vast majority of theaters have been closed since March, the pandemic has prompted debate about how much individual freedoms should be curtailed in the name of fighting the virus. Less so in Germany, where by and large people have accepted pandemic inconveniences as necessary to support a strong and unified government response.In America, where the vast majority of theaters have been closed since March, the pandemic has prompted debate about how much individual freedoms should be curtailed in the name of fighting the virus. Less so in Germany, where by and large people have accepted pandemic inconveniences as necessary to support a strong and unified government response.
Against this backdrop, cultural life is returning to normal here to a degree unimaginable in the United States. Events like the Musikfest Berlin and the start of a new “Ring” cycle at the Deutsche Oper Berlin show a society committed to preserving live performances while guaranteeing audience safety.Against this backdrop, cultural life is returning to normal here to a degree unimaginable in the United States. Events like the Musikfest Berlin and the start of a new “Ring” cycle at the Deutsche Oper Berlin show a society committed to preserving live performances while guaranteeing audience safety.
At the start of the fall theater season, new plays in Hamburg and Berlin reflect on the meaning and limits of freedom. Although the productions were devised long before the pandemic, their themes have gained new relevance.At the start of the fall theater season, new plays in Hamburg and Berlin reflect on the meaning and limits of freedom. Although the productions were devised long before the pandemic, their themes have gained new relevance.
Thomas Köck’s “Paradise” (“Paradies”), at the Thalia, is a vast panorama of crisis, exploitation and failure. Köck takes us from the jungles of Brazil in the 19th century to modern-day Iraq to the Italian city of Prato, where a fire killed seven people at a Chinese-owned garment factory in 2013. An onstage band led by Lia Sahin, a transgender German-Turkish hip-hop artist, helps set the production’s relentless pace. Abdoul Kader Traoré, an actor and singer from Burkina Faso, matches Sahin in theatrical intensity as he guides us through the various episodes.Thomas Köck’s “Paradise” (“Paradies”), at the Thalia, is a vast panorama of crisis, exploitation and failure. Köck takes us from the jungles of Brazil in the 19th century to modern-day Iraq to the Italian city of Prato, where a fire killed seven people at a Chinese-owned garment factory in 2013. An onstage band led by Lia Sahin, a transgender German-Turkish hip-hop artist, helps set the production’s relentless pace. Abdoul Kader Traoré, an actor and singer from Burkina Faso, matches Sahin in theatrical intensity as he guides us through the various episodes.
“Paradise” was staged by Christopher Rüping, one of Germany’s most exciting young directors, who has a flair for high-octane productions that muscularly fuse together clever stagecraft, propulsive live music and fearless acting. In “Paradise,” Rüping combines these elements into gripping theater that pulsates with energy and purpose. Photographs and projected text add a documentary-like feel to the production, while Peter Baur’s set provides fluent transitions between episodes: Two industrial-looking containers stand in for the Hotel Palestine in Baghdad and a hospital in Osnabruck, Germany, where an auto mechanic hovers between life and death after setting himself on fire. “Paradise” was staged by Christopher Rüping, one of Germany’s most exciting young directors, who has a flair for high-octane productions that muscularly fuse together clever stagecraft, propulsive live music and fearless acting. In “Paradise,” Rüping combines these elements into gripping theater that pulsates with energy and purpose. Photographs and projected text add a documentary-like feel to the production, while Peter Baur’s set provides fluent transitions between episodes: Two industrial-looking containers stand in for the Hotel Palestine in Baghdad and a hospital in Osnabrück, Germany, where an auto mechanic hovers between life and death after setting himself on fire.
The four members of the cast (joined onstage by four musicians) form a tight unit. Maike Knirsch gives a standout performance as a photojournalist trapped in the hotel in Baghdad. But even the characters in “Paradise” who are free to roam as they please are at the mercy of forces beyond their control. In the world of the play, an abstract ideal of freedom is no guarantee against manipulation and oppression. Ultimately, Köck and Rüping seem quite pessimistic about how much autonomy we have, and whether it’s enough to lead to happiness.The four members of the cast (joined onstage by four musicians) form a tight unit. Maike Knirsch gives a standout performance as a photojournalist trapped in the hotel in Baghdad. But even the characters in “Paradise” who are free to roam as they please are at the mercy of forces beyond their control. In the world of the play, an abstract ideal of freedom is no guarantee against manipulation and oppression. Ultimately, Köck and Rüping seem quite pessimistic about how much autonomy we have, and whether it’s enough to lead to happiness.
The early 19th-century German dramatist Friedrich Schiller, on the other hand, is sometimes referred to as “the apostle of freedom.” His plays dramatize many of the concerns of the European Enlightenment, including freedom from tyranny and the triumph of reason over prejudice.The early 19th-century German dramatist Friedrich Schiller, on the other hand, is sometimes referred to as “the apostle of freedom.” His plays dramatize many of the concerns of the European Enlightenment, including freedom from tyranny and the triumph of reason over prejudice.
Now the Thalia’s recently departed house director, Antù Romero Nunes, has returned to condense three of Schiller’s key plays into “Ode to Freedom” (“Ode an die Freiheit”), originally planned for last season. Prepared by Nunes and his dramaturge, Matthias Günther, the piece both distills and subverts the original texts in 125 densely packed minutes.Now the Thalia’s recently departed house director, Antù Romero Nunes, has returned to condense three of Schiller’s key plays into “Ode to Freedom” (“Ode an die Freiheit”), originally planned for last season. Prepared by Nunes and his dramaturge, Matthias Günther, the piece both distills and subverts the original texts in 125 densely packed minutes.
It starts with a retelling of “William Tell,” done as a two-man comedy with the Swiss national hero (a scene-stealing Paul Schröder) as a stubborn yokel who should really watch where he points his crossbow. Thomas Niehaus does double duty as William’s dimwitted son, Walter, and Tell’s nemesis, the Hapsburg bailiff Gessler.It starts with a retelling of “William Tell,” done as a two-man comedy with the Swiss national hero (a scene-stealing Paul Schröder) as a stubborn yokel who should really watch where he points his crossbow. Thomas Niehaus does double duty as William’s dimwitted son, Walter, and Tell’s nemesis, the Hapsburg bailiff Gessler.
In subsequent acts, Nunes treats us to “Intrigue and Love,” staged as a family quarrel around a breakfast table, and “Maria Stuart,” presented as a battle of wits between warring queens (Barbara Nüsse and Karin Neuhäuser in fine Elizabethan dress). I was far more impressed by the bravura acting than by Nunes’s attempts to destabilize Schiller, largely because it was difficult to tell how much of the production was satire and how much was homage. It was a far cry from both Enlightenment idealism and the pessimism that pervades “Paradise.” I left the theater wondering what, if anything, “Ode to Freedom” had to say about freedom itself.In subsequent acts, Nunes treats us to “Intrigue and Love,” staged as a family quarrel around a breakfast table, and “Maria Stuart,” presented as a battle of wits between warring queens (Barbara Nüsse and Karin Neuhäuser in fine Elizabethan dress). I was far more impressed by the bravura acting than by Nunes’s attempts to destabilize Schiller, largely because it was difficult to tell how much of the production was satire and how much was homage. It was a far cry from both Enlightenment idealism and the pessimism that pervades “Paradise.” I left the theater wondering what, if anything, “Ode to Freedom” had to say about freedom itself.
Schiller believed the increase and spread of individual liberty would lead to universal brotherhood and an ideal society based on reason. But who gets to define freedom, autonomy and self-determination? Certain rights do seem self-evident: the right to life, for instance. But what about the freedom to die?Schiller believed the increase and spread of individual liberty would lead to universal brotherhood and an ideal society based on reason. But who gets to define freedom, autonomy and self-determination? Certain rights do seem self-evident: the right to life, for instance. But what about the freedom to die?
Ferdinand von Schirach’s “Gott,” at the Berliner Ensemble, takes up that ethically knotty question. Elisabeth Gärtner is a healthy 78-year-old woman who has lost the will to live since her husband’s death several years ago. Should she be able to legally seek medical assistance to end her life?Ferdinand von Schirach’s “Gott,” at the Berliner Ensemble, takes up that ethically knotty question. Elisabeth Gärtner is a healthy 78-year-old woman who has lost the will to live since her husband’s death several years ago. Should she be able to legally seek medical assistance to end her life?
The play’s setting is an ethics commission that has convened to debate the issue. Much of the dialogue comes from arguments heard at the constitutional court in Karlsruhe, Germany, between April 2019 and February 2020, hearings that overturned section 217 of the country’s criminal code, hence establishing an individual’s right to a self-determined death.The play’s setting is an ethics commission that has convened to debate the issue. Much of the dialogue comes from arguments heard at the constitutional court in Karlsruhe, Germany, between April 2019 and February 2020, hearings that overturned section 217 of the country’s criminal code, hence establishing an individual’s right to a self-determined death.
Although the situation that it dramatizes isn’t strictly speaking a trial, “Gott” follows the forms and conventions of a courtroom drama, one in which the audience tacitly assumes the role of judge or jury. In addition, Schirach, himself a lawyer, adds a final twist, allowing the audience to weigh in on whether they would help Mrs. Gärtner die if they were doctors. At the performance I attended, just a third of the audience said they would.Although the situation that it dramatizes isn’t strictly speaking a trial, “Gott” follows the forms and conventions of a courtroom drama, one in which the audience tacitly assumes the role of judge or jury. In addition, Schirach, himself a lawyer, adds a final twist, allowing the audience to weigh in on whether they would help Mrs. Gärtner die if they were doctors. At the performance I attended, just a third of the audience said they would.
For the most part, however, “Gott” is a rigidly didactic affair. The simple production directed by Oliver Reese, the Berliner Ensemble’s artistic director, is as straightforward and dry as Schirach’s dialogue.For the most part, however, “Gott” is a rigidly didactic affair. The simple production directed by Oliver Reese, the Berliner Ensemble’s artistic director, is as straightforward and dry as Schirach’s dialogue.
Eight of the ensemble’s fine actors do their best to inject some drama and life into the deliberations, but even they aren’t able to turn this provocative subject matter into engaging theater. Various arguments pro and con are heard from medical, legal and even theological experts. One of the more revealing threads to emerge is the long shadow that the Nazis’ euthanasia program casts over the question of assisted suicide in Germany. There is much food for thought, but it seems a stretch to call “Gott” theater. And even at their most heated, the actors seemed little more than mouthpieces for the two sides of the debate.Eight of the ensemble’s fine actors do their best to inject some drama and life into the deliberations, but even they aren’t able to turn this provocative subject matter into engaging theater. Various arguments pro and con are heard from medical, legal and even theological experts. One of the more revealing threads to emerge is the long shadow that the Nazis’ euthanasia program casts over the question of assisted suicide in Germany. There is much food for thought, but it seems a stretch to call “Gott” theater. And even at their most heated, the actors seemed little more than mouthpieces for the two sides of the debate.
The dramatic changes to life in the pandemic have shown how much we previously took for granted. Six months since lockdowns began, the freedom to return to the theater here, with or without a mask, feels like an incredible privilege.The dramatic changes to life in the pandemic have shown how much we previously took for granted. Six months since lockdowns began, the freedom to return to the theater here, with or without a mask, feels like an incredible privilege.
Paradies. Directed by Christopher Rüping. Thalia Theater Hamburg through Nov. 22.Paradies. Directed by Christopher Rüping. Thalia Theater Hamburg through Nov. 22.
Ode an die Freiheit. Directed by Antù Romero Nunes. Thalia Theater Hamburg through Nov. 5.Ode an die Freiheit. Directed by Antù Romero Nunes. Thalia Theater Hamburg through Nov. 5.
Gott. Directed by Oliver Reese. Berliner Ensemble through Nov. 21.Gott. Directed by Oliver Reese. Berliner Ensemble through Nov. 21.