MATERIALIEN FÜR EINE DEUTSCHE TRAGÖDIE - Werner Waas
Materialien für eine deutsche Tragödie - Werner Waas
Von Antonio Tarantino
History reproducing itself becomes farce,
Farce reproducing itself becomes history
„Materialien für eine deutsche Tragödie“ (Materials for a German Tragedy) tells a sarcastic empathetic tale about Power, Utopia and Death in light of the terrorism of the 70’s. 100 voices on 200 pages describe the chain of events in the Deutscher Herbst (German Autumn, 1977) in a random sequel of scenes. An insane view on history, that uses the German-Italian reflectivity to reveal rhetorical veils and search for the Now in the mists of the past. Italian and German actors from different generations perform in and play with the German language and history and everything that counts as translation. They switch from narration to performance and back again, interpret and improvise. The foreign vision and dealings of the actors with historical figures, which are being tried out and quickly changed, put on and pulled off like gloves, remain the guiding theme. Parts of the text are read, parts of it are used merely as a set-up to achieve a form of acting that alternates between Brecht, Totò and Happening.
The 6-hour performance will be concluded – in creating an atmosphere of a typical Italian assembly, where long political discussions always are intermitted by eating and drinking – with a collective delicious light meal and a glass of wine.
Tarantino won the renowned Riccione-Award for Contemporary Dramatic Art in 1997 for „Materialien für eine deutsche Tragödie“ (Materials for a German Tragedy). This is the first time this gigantic snapshot of the terror wave in the year 1977 is performed in Germany. Author Tarantino explains: “I didn’t want to write about the Brigate Rosse, because these incidents are to close to me, in political as well as in emotional regard.” With his limitation towards the written history Tarantino creates an interspace, in which the language can emancipate itself and, by doing so, manifest it’s rhetorical and subversive potential.
In this carrousel the young Utopians, the terrorists, are merely soliloquizing monuments of desolation. They challenge the institutionalized powers that be and the more the language of these authorities verbalizes the discourse of power, the more they become caricatures. Up comes the distorted picture of a state that refers just as well to the 70’s as to our present day, in which both the techniques of obscuring reality and the struggle for life and death between state power and terrorism took on unimagined dimensions. Power always remains true to itself.
Two workshops took place during the rehearsals, which enriched the project with cross-generational reflections and interjections. The first one was with pupils of the Italian-German Albert Einstein secondary school in Britz and the other workshop was with older people in cooperation with the Theater der Erfahrungen (Theatre of Experiences) in Schöneberg. The reflections of those who lived back then and of those who weren’t even born yet were integrated and incorporated into the process.
Premiere: December 13th | 6pm
VIERTE WELT - KOLLABORATIONEN, Kreuzberg Galerie 1. OG | Kottbusser Tor, 10999
Tickets*: 15€ | 12€ Concession
November 28th | 6pm
TATWERK | PERFORMATIVE FORSCHUNG, Hasenheide 9, Gewerbehof Aufg. 1, 3.OG, 10967 Berlin
December 5th | 6pm
HAUSER – DRAMATISCHE REPUBLIK, Schudomastr. 32, 12055
Tickets*: Sliding scale 8 – 12€
* Included in the tickets are three glasses of wine and sandwiches for in between as well as a midnight soup at the close of the day
With: Lea Barletti, Elettra de Salvo, Carlo Loiudice, Lajos Talamonti, Werner Waas, Armin Wieser, Harald Wissler
Direction / Translation: Werner Waas
Assistant: Archil Svimonishvili
Dramaturgie / Video: Barbara Weigel
Music: Harald Wissler
An ITZ-Berlin Production as a part of „Fabulamundi.Playwriting Europe - Crossing Generations“
With kind support of the Cultural Program „Kreatives Europa 2014 – 2020“ of the EU, the co-financing fund of the Berlin Senate of Cultural Affairs, and the Italian Institute of Culture.