Maren Rahmann präsentiert die FLEISCHEREI zum 10-Jahresjubiläum des KosmosTheater.

Zum 10. Geburtstag des KosmosTheaters überbringen Künstlerinnen, die mit der Geschichte des Hauses untrennbar verknüpft sind, ihre ganz speziellen Glückwünsche.

Das gesamte Theater - von den Nebenräumen bis zum Saal - wird Bühne, wenn in einem 10-stündigen Marathon Leckerbissen der unterschiedlichsten Kunstsparten präsentiert werden.

Sa., 13. März 2010, 19h
voraussichtliches Ende: 5h
Preis: PAY AS YOU WISH

 

"Menschen sind wir einst vielleicht gewesen"

Maren Rahmann singt, spricht und musiziert auf der Ziehhamonika selbstvertonte Jura Soyfer-Texte.

(u.a. Lied des einfachen Menschen, Wies zugeht auf der Welt, Matrosenlied, Sturmzeit)

Maren Rahmann singt, spricht und musiziert auf der Ziehharmonika selbstvertonte Jura Soyfer Texte.

(u.a. Lied

On the basis of our experimental socio-theatrical working methods last developed in the innovative street theater project "AUF ACHSE 09"/”ON AXIS 09” realized as a theatrical procession with artists, migrants, refugees and small businesses in the public space of Vienna, we will present a newly adapted version for Mexico.  It will use personal and biographical stories of participants derived form a 10-day workshop and relate closely to the city, spaces, people and landscapes of Guanajuato on relevant issues of migration, participation and coexistence in a multicultural society. Within a creative interplay between artists from Austria and Mexico – with the participation of migrants, businesses and/or street sellers- the group will develop from improvisations visual, musical and theatrical scenes in three parts with personal texts and literary fragments (Elfriede Jelinek, Heiner Müller, Aischylos) dealing with topics of migration. The spatial and interactive scenes are performed as a theatrical procession on site-specific locations in Guanajuato – in streets, cafes and restaurants.

Part 1: Dream Factory or dreaming of a new beginning
Team 1: Juan Pablo Vacaflor del Carpio & Martina Gimplinger (BOL/A,
Theater of the Oppressed): Procession with music, video and performance.
we are re/searching our common sensibility, that which connects us in the magic of dreams and the power of imagination.

Part 2: Parallel Worlds
Team 2: Eva Brenner & Katka Csanyiova (A/USA/SK, Mise-en-Scène and Theater Science): procession mit music, literary texts and scenic montages focusing on positive models of co-existence as opposed to „parallel worlds“ in a multicultural society - giving testimony and voice to public statements against racist violence.

Part 3: Grand Finale- “Coming Together”
Team 3: Eva Brenner, Katka Csanyiova, Juan Pablo Vacaflor del Carpio und
Martina Gimplinger: a final group performance with music and choral works based on texts by Elfriede Jelinek, Heiner Müller, Aischylos and the participation of the audience.

The End of Enlightenment
by Heiner Müller

Guest production at the CASTILLO THEATRE (New York)

Opening Night: June 12th, 2009, 7:30 pm
Performances: June 13th - June 28th, 2009, 7:30 pm - only on 3 week-ends, Fri.-Sat., at 7:30 pm, Sun. at 2:00 pm, Sun., Jun 28th, at 5:00 pm

Mise-en-scène/Space concept: Eva Brenner
Songs: Fred Newman and Ensemble
Set Design: Joe Spirito
Dramaturge: Dan Friedman
Costumes: Emilie Charlotte
Sound Design: Michael Klein
Lighting Design: Kate Asthon
Stage Manager: Lisa Oros
Producers: David Nachman, Diane Stiles
Performance: Ensemble des Castillo Theatre,
Sun Sun YAP as "Heracles 2"

Heiner Müller’s masterwork of 1977 deconstructs and reconstructs not only Shakespeare's Hamlet, but all of modernism into an intense, nightmarish dramatic poem. The 8-page long text-montage is structured in five classical acts and cites in surrealist density the great revolutionary movements of the last 2 centuries, the legacy of Marx, Engels, Lenin und Mao, the failed revolts since 1848, the last hope against state terror through armed struggle such as by the RAF, and the waning chances of (Western-oriented) feminism . Centrally figures the failed role of the rational Western intellectual in the character of the (Western-partriarchal) male as the author's photography is torn apart onstage.  The intense play with no prescdribed characters, space- and time-settings is full of political-philosophical allusions and prophesizes - long before its actual demise -the fall of socialism in its real-existing variant, yet also the choas of the "remaining" capitalisms which was about to follow...
Eva Brenner, who completed her much quoted NYU-disseration on early European and US-productions of Hamletmachine in 1994, will be directing the play for the first time.
Fred Newman, noted US-American political author, activist, post-Marxist philosopher and Castillo co-founder, whose songs are part of the mise-en-scène, writes: "Considered by many to be the first classic of the postmodern theatre, Hamletmachine's production features musical designs of our 2002 staging at Castillo, including some of my original songs and a rap finale by the Ensemble."

"The Only Reason to Produce Hamletmachine in 2009 is to Leave It Behind"
An Interview of director Eva Brenner by dramaturg Dan Friedman (June 2009)

Friedman – What was your vision for the production when you arrived?
Brenner – I didn’t arrive with a preconceived notion.  I only knew that I had a distance from the author and the play. As I flew here on the plane from Vienna I was thinking about all the time that has passed since the play was written and all the changes in attitudes toward it and toward Heiner Müller. Hamletmachine is a historic piece. That doesn’t mean it has lost its impact but it’s entrapped in the historic period of its creation, a period that is gone, that has qualitatively transformed.  I have attempted to direct it in way that embodies that distance, but does so in a loving and empathic way.
Friedman – What is the nature of the historic period it embodies?
Brenner – The play is an expression of failure—not only the failure of communism and the white bourgeois feminist movement, but also the failure of the European Enlightenment in general. It’s an articulation of the end of a rope.  It’s sort of an End Game. It has been compared to Beckett.  It’s a postmodern End Game, if you wish.
Friedman – What is your attitude toward that failure?
Brenner – I feel very close to the failure, to the tragedy, both the
tragedy of bourgeois feminism as embodied in Ophelia and the tragedy of Communism and the Enlightenment as embodied in Hamlet. I would like to find a way out of this End Game, a way out of this European trap of elitism and cognition and mourning.  Müller died in 1995, so in his final years he mourned the demise of Communism and the fall of the German Democratic Republic, his country.  I would like to—I need to—get beyond the mourning.  I come from a culture, especially in Vienna, where daily life is one of lamentation and depression.  There is always a sense of loss.  We’re so consumed by loss that we never get around to building anything new.
Friedman – Have you been able to build something new with this production?
Brenner – I think so.  First of all, it is very different here. America is much more optimistic than Europe.  You see that in Obama’s election. Yes, there is an economic crisis, but there is also hope. Secondly, doing the play at a theatre like Castillo, with its context of a development community and with a multi-racial, multi-generational cast has opened up new possibilities. For example, the young actors who were trained here in the Youth Onstage! Community Performance School certainly don’t grasp the depth of the tragedy that Müller expresses and know little about German history or theatre, yet they were organically drawn to certain images and movements of the text and they have authentically translated them into a contemporary, you might say, street-language. It is a very political play, and a highly political performance, I hope – it’s a political  montage which also contains many autobiographical references and  personal statements by the author. Because of that, we have brought in personal references of the cast, which are, of course, very different than Müller’s.
Friedman – How has that impacted on the production?
Brenner – It has allowed us to highlight not only the failure
articulated in the text, but the energy and hope we find here in America and at Castillo. It contrasts the dense German language and imagery with the street-wise language and imagination of the young working class actors from here in New York.  I find that liberating.
Friedman – How have you directed/performed that contradiction?
Brenner – We put the play in an imaginary “box” in the middle of the space.
I put  the Hamlet and Ophelia characters inside the box. I put the commentary on the play, the actors performing themselves, or the characters of Sojourner Truth and Otto René Castillo (which, of course, are not in Müller’s text) at the brink of this boundary or outside the box. Parts of the play are presented almost as a museum exhibit. In addition, I think that for the fist time I understand now–actually working on the play–what is the “machine”: it’s inside of each one of us, WE are the “machine” in as far as we incorporate this machine-like system inside of ourselves–and that’s why it’s so hard to get rid off! Again, my approach 2009 articulates a loving gesture, but it’s definitely also a gesture of distance.
Friedman – Why is it important for you to distance the play?
Brenner – The only reason for producing Hamletmachine in 2009 is to
get rid of the play, to leave it behind, to work our way out of the despair it articulates. I would like to suggest through this
production: “Okay, this is as far as Müller went. Now let’s brush off the costumes, turn on the lights, look at each other and ask what do we do together next?” 

Dramaturgical note (May 2009):
"The Castillo Theatre in New York City, of which I am dramaturg, will be producing Müller's Hamletmachine translated by Carl Weber, with original songs by Fred Newman directed by Eva Brenner in June.
Weber, Newman and Brenner are all contributors to our book, "The Politics of Heiner Müller" (2008). As you probably know, Eva's dissertation on Hamletmachine (written in the early '90s) has been quite influential, and this is the first tim she will be tackling the text as a director.
Eva Brenner is a founder of the Castillo Theatre who went on to found and lead Projekt Theater Studio in her native Vienna. This production marks her directorial return to Castillo (and the United States) after 15 years.
I'm writing to invite you all who can make it to NYC to come see what will undoubtedly be an interesting and provocative production. Spread the word!"- Dan Friedman (Dramaturge, Castillo Theatre)

Castillo Theater
c/o All Stars Project
543 West 42nd Street New York, NY 10036
212-941-9400
800-435-7453

www.castillo.org

Castillo Theatre
Located at the All Stars Project’s performing arts and learning center on West 42nd Street, the Castillo Theatre brings challenging, thought-provoking entertainment to the heart of New York’s theatre district. Since 1983, Castillo has staged over 100 productions — from multi-cultural and avant-garde plays, to musicals and performance projects.

 

 

Adventwanderung „ALLES GUTE. Ein Umgang“
18. Dezember 2006
ab 17 Uhr
Stop & Go durch den 7. Bezirk

Von und mit: Hauptbücherei am Gürtel, Theater SPIELRAUM, WestLicht. Schauplatz für Fotografie, Literaturhaus, Medienwerkstatt Wien, Sieben*stern, Fleischerei / Projekt Theater Studio, Amerlinghaus, mica- music austria, Architekturzentrum Wien, Tanzquartier Wien, DSCHUNGEL WIEN

17.00 Hauptbücherei am Gürtel
Urban-Loritz-Platz 2a
Das Unterösterreich. Ein Varieté

17.30 Theater SPIELRAUM
Kaiserstraße 46
SPRACHLOS. Pantomime
von und mit Walter Reiterer

18.00 WestLicht
Westbahnstraße 40
Nobuyoshi Araki: Diaries (Love by Leica)

18.30 Literaturhaus
Zieglergasse 26a
Daniel Glattauer
über Vanillekipferl

19.00 Medienwerkstatt Wien
Neubaugasse 40a
Das Alte - Das Neue
Videominiaturen

19.30 Sieben*stern
Siebensterngasse 31
Kurt Palm: "Brecht im Kofferraum"

20.00 Fleischerei
Kirchengasse 44
HELP YOURSELF, MARRY ME!
Szenen aus der „1. interkulturellen Hochzeit”
mit asiatischen MigrantInnen
Regie: Sun Sun YAP (SING)
Premiere: 13. 10. 2006, Restaurant LUX

20.30 Amerlinghaus
Stiftgasse 8
Kurz-Trick-Filme aus dem
fröhlichen Wohnzimmer

20.45 mica - music austria
Stiftgasse 29
tanz baby!

21.15 Architekturzentrum Wien
Museumsplatz 1
Bottom Up. Bauen für eine
bessere Welt

21.45 Tanzquartier Wien
Studios
Rent an Angel

22.15 DSCHUNGEL WIEN
Fürstenhof im MQ
Josch Russo/<und die freischwimmer AG>
Begleitet von Saxophonquartett Phoen und Maren Rahmann (Moderation)
Detaillierte Infos:
www.mica.at/allesgute
T: 5262044-21

THEATRICAL INTERVENTION OF THE BUTCHERIE ("FLEISCHEREI")

Scenes & Choruses from the epic text-fragment 
„THUS DIED A PARTY” by Jura Soyfer (1934)

In German and English Language

Text Adaptation & Mise-en-Scène: Eva Brenner (A/USA)
Space Design & projections: Andreas Pamperl (A); Assistance: Marton Baksai (H)
Performers: Katka Csanyiova (SK) Jella Jost (A), Birgit C. Krammer (CH), Stefan Lirsch (A), Maren Rahmann (D), Sibylle Starkbaum (A), Sun Sun Yap (SGP)

December 16th, 2006, 8 pm
MUSEUMSQUARTIER, MUSEUMSPLATZ 1, 1070 Vienna

produced as part of the INTERNATIONALEN CONFERENCE ON
AUSTROMARXISMUS _ VISION _ POLITICS _ MOVEMENTS_ CULTURE
70th anniversary of the publication of Otto Bauer's last work "Zwischen zwei  Weltkriegen?" ("Between Two World Wars?") December 15-17th 2006 (http://www.kpoe.at/austromarx/)
Performance on Dec. 12th, 6 pm at the Flakturm ArenbergparkPreview 1030
As part of „FAKTUM FlakTURM“ -"77 positions", an international art project.

The Performance

The "Austrian Brecht" Jura Soyfer (1912-1939) has written a realistic political novel about the events around the vienna uprising of February 1934 and its consequences.  It is a multi-layere drama thriving towards catastrophy and allowing direct insights into everyday political life of the time.  After the Ouverture which sketches in fast motion-fragments the developments between 1919 and 1932, following dramatic sequences focus on the last year of the First Austrian Republic, 1934, the eve of Autro-Fascims`s onset. 

The first six chapters - of which only two have surved as exposés - take place during the first three months of the year 1933 in which Social-Democracy in Austria met its fate. The weeks before Hitler's victory on January 30th, the victory party of Vienna's Nazis, protest-demonstrations of Social Democrats on February 11th, the strike of railroaders on March 1st, the retreat of all three Parliamentary Presidents on March 4th, the violent dismission of the Parlimentary Session on March 15th, the Republican "Schutzbund"-banning on March 31st - the documentary fiction traces all these major events. 

Part 2 of the novel begins after a lapse of time and treats events in the summer and fall of 1933, closing with January 1934 - dates which can only be partially traced. About 14 days before the February uprising on the 12th, the text suddenly breaks off. 

The scenic treatment of anovel destined to become Soyfer's opus magnum remained fragment, was desinged as work-in-progress.  It does not attempt to give a realistic image of the time or to stage the "movement of the masses".  To the contrary, it attempts to concentrate on the impressive contours of leading chracters in the novel and their personal fate, their reasons to move or (rather) to cease movement.  What emerges is the ghostly panorama of a political party`s demise as articulated by concrete experiences of historic individuals, their trials and errors.

An open space shared by all - actors and audiences - is dominated by the emergence of jaded union representatives, emphatic young Nazis, young workers and dull party beaurocrats swept away by history. In these fragments heroes do not exist as the collective as main topic is shhepd by changing opinions of characters appearing and disappearing on the stage of politics. Soyfer's differentiated view is typological rather than historically accurate, projecting human stereotypes who come to stand for thousands of others of his time.

The steadily growing stagnation and decay in the 20s and early 30s of Austrias once flourishing Social-Democracy, the beaurocratization of its functionaries and party members, the misjudgement of immanent facistic dangers - drowned by religious-political overtones of redemption - are exposed in all their tragic pathology.  The audience is invited to draw its own conclusions by comparing with present days. parallles allow for associations with current developments of social crises and political corruption as well as the traditional Left`s retreat...

Szenario

1. OVERTURE: „Red flags“ – film fragments
2. CHORUS - „We are the workers of Vienna“
3. Self portrait of the neo-Nazi, Franz Josef Zehetner
4. REPORT 1 (Nazis marching in the streets of Vienna)
5. Self portrait 1 of the party cashier Robert Blum + REPORT 2 (march of Februar 11th 1933)
6. Self portrait of the union leader, Ferdinand Dworak
7. Self portrait of the Parliamentary Deputy, Josef Dreher
8. REPORT 3 (Strike of railroad workers)
9. Dialogue Dworak-Dreher + Dachausong
10. CHORUSES – text fragments on Otto Bauer
11. REPORT 4 (Dissolutionof Parliament)
12. Dialogue of the young working couple, Käte Haider + Franz Seidel
13. Self portrait 2 Robert Blum (prison, Ich-Scism, Dream)
14. EPILOGUE: Blum's release+ apotheosis + Waltz fragment: „Happy is who forgets…“ + Embrace, CHORUS-„We are the workers of Vienna“
15. CODA: „A foreign city“

The Author

Jura Soyfer, (* December 8th, 1912 in Charkow, Ukraine; † February 16th,  1939 at CC Buchenwald) is counted amongst Austria's most important political writers of the period between the wars.  He has published in several left-wing newspapers and wrote five short plays for the political cabaret stage of the time, as well as three more rescued scenes. In his essays, political commentaries, satires and plays he sought to destroy common illusions and to contribute to sical change in the direction of Socialism. Somwhat polemically, he conceived of his artistic work as "propaganda as targeting daily eventsof the times. Soyfer's literature offers no solutions. Iin his eyes the problems portrayed are to be solved in direct participatory political action. To the extent as his works have survive and come to us by rescue of his friends and colleagues in exile, were to be published starting in 1974.

New Version of the Solo-Performance with Maren Rahmann (D) based on texts by Ingeborg Bachmann

at the BUTCHERIE

Dates: October 4th-6th, at 8 pm, Tickets: € 16,  € 12 reduced

Austrian Premiere Performances

World Premiere Dublin, Trinity College, Mai 2004

Mise-en-scène: Eva Brenner (A/USA)
Performance: Maren Rahmann (D)
Music: Angélica Castelló (MEX)
Space&Projections: Andreas Pamperl (A)
Project Directors: Eva Brenner & Maren Rahmann

ON THIS DARKENING STAR presents a representative cross-reading of Ingeborg Bachmann - coalesces some of her most famous texts into a fascinating theatrical montage.  In her attempt to bring a “monument” of Austrian literature closer to the audience she opposes the myth of failure with the active resistance of a very contemporary woman and author. Poems as well as excerpts from speeches, essays and the novel, „Malina“, are being used.

Solo-Performance with Maren Rahmann based on texts by Ingeborg Bachmann

Austrian Premiere Performance

new & adapted version for Vienna (World Premiere Dublin, Trinity College, Mai 2004)

Premiere Performance: May 28th, Performances: may 29th & 30.th, 2006, at 7:30 pm, Palais Palffy (Josefsplatz 6, 1010 Vienna), Entrance: € 10
Guest Performance at the Restaurant LÖWENHERZ on June 13th, 2006, at 8 pm (Hernalser Hauptstrasse 171, 1170 Vienna), Entrance: free.

Mise-en-scène: Eva Brenner (A/USA)
Performance: Maren Rahmann (D)
Music: Angélica Castelló (MEX)
Space&Projections: Andreas Pamperl (A)
Project Directors: Eva Brenner & Maren Rahmann

The Project

“On this darkening star” - a representative cross-reading/performance of Ingeborg Bachmann’s oeuvre - coalesces into a fascinating theatrical montage.  In her attempt to bring a “monument” of Austrian literature closer to the audience she opposes the myth of failure with the active resistance of a very contemporary woman and author. Poems as well as excerpts from speeches, essays and the novel, „Malina“, are being used.
Supported by: Cultural Department of the City of Vienna, Kulturverein „Hernalser Frühling“, PROJEKT THEATER STUDIO/FLEISCHEREI

The Performance

PROJEKT THEATER STUDIO / FLEISCHEREI presents a new version of its successful solo-performance of 2004, set within a series of events at the occasion of Ingeborg Bachmann's 80th anniversary - "I border on a word and on another land" (Vienna, May 16th - June 10th, 2006, Palais Palffy). The performance is based on two earlier Bachmann-productions of the company („Craving“, World premiere WUK-Theater Vienna, 1997, and „Everybody knows“, World premiere PROJEKT THEATER STUDIO, 2000) and is being staged - like all of these – with the support of the heirs of Bachmann.

The hit production „Everybody knows“ was developed with the ensemble as physical theater performance on the basis of newly published poems from the much recognized publication „I don`t know a better world“ (2000). The performance „On this darkening star“ assembles for the first time a representative selection from the opus of the author shaping it into an exciting evening for one actress. The tour de force sets the author's quest for resistance against the myth of failure and thus to deconstructs a literary "monument".  A woman alone in a large room, encountering her own (video)projections.  The poet, the thinker, the lover, the intellectual, the strong, the weak.  Rahmann oscillates between scenic reading and physical theater supported by the gifted Mexican musician and flutist, Angélica Castelló.  Her float through space shows traits of remembrance, a quest to know and to empathize, working with extremely sparse signs and searching for direct contact with the audience. Her gesture is effortless, unvarnished, unpathetic, shunning the bow before the icon, the famous texts...

Rahmann proposes a scenic demystification of the “classical” author Bachmann. That is how she arouses interest for the opus and the human being alike – a fascinating and surprisingly contemporary opus, the scandalous life of a woman, who combined sensuality, creativity, sexuality, intellectual power and political consciousness in incomparable fashion.

The program

• No delicatessen (from Hans Höller: „Last unpublished poems, 1998)
• Texts about war (diverse sources & MALINA)
• Alcohol (from: „I don`know a better world“, 2000)
• The truth is reasonable for a human being – (speech on the occasion of the bestowal of the radio drama award of the war blind, 1959, works; Vol. 4)
• Music and poetry (works, Piper, Munich, 1982, Vol. 4)
• Tired and unable (from: „I don`know a better world“)
• Advertising (from: „I don`t know a better world“)
• My cries (from: „I don`t know a better world“)
• Noone should refer to victims (from: works, Vol. 4)
• One day people will... (from: MALINA)
• Declaration on the war in Vietnam (December 1965)
• Down with weapons (from the estate)
• Bohemia lies on the sea (from Hans Höller: „Last unpublished poems, 1998)
• Disintegration (from: „I don`t know a better world“)
• My petit-beourgeois (unpublished poem)

Link: Ingeborg Bachmann zum 80. Geburtstag

AUF DIESEM DUNKELNDEN STERN

Eine Performance mit Maren Rahmann (D) nach Texten von Ingeborg Bachmann

UA in Irland, 1. Mai 2004, Trinity College, Dublin. Im Rahmen einer internationalen Ingeborg Bachmann Konferenz

Regie: Eva Brenner
Musik: Konstantin Athanasiadis (Komposition und PC-Live Performance) & Maren Rahmann (Gesang, Akkordeon)
Künstlerische Leitung: Eva Brenner & Maren Rahmann

 

Anfang Mai 2004 präsentierte das PROJEKT THEATER STUDIO eine neue Solo-Performance im Rahmen einer internationalen Ingeborg Bachmann–Konferenz am Trinity College Dublin (IR). Die Arbeit basiert auf zwei früheren Bachmann-Produktionen des Projekt Theaters („Gier“, UA WUK-Theater Wien, 1997, und „Es Weiss Ja Jeder“ , UA PROJEKT THEATER STUDIO, 2000) und fand - wie jene - mit Unterstützung der Erben Bachmanns statt.

Die Erfolgsproduktion „Es Weiß ja Jeder“ wurde auf Basis von neu veröffentlichten Gedichten aus der viel beachteten Veröffentlichung „Ich weiß keine bessere Welt“ (2000) mit dem vollen Ensemble körper-theatral erarbeitet. Die Performance „Auf diesem dunkelnden Stern“ montiert nun erstmals einen repräsentativen Querschnitt aus dem Werk der Autorin zu einem spannenden Abend für eine Schauspielerin. Verwendet werden Gedichte aus verschiedenen Lebensphasen sowie Auszüge aus Reden, Essays und dem Roman „Malina“.

Eine Frau allein im Raum. Die Dichterin, die Denkerin, die Liebende, die Intellektuelle, die Starke, die Schwache. Unbemerkt betritt sie die fast leere Bühne, wie aus weiter Vergangenheit, aus der Wüste kommend. Neugierig, skeptisch nimmt sie das Publikum wahr, wird sich ihrer Einsamkeit und Ausgesetztheit bewusst. Fluchtartig zieht sich an ihren Schreibtisch zurück, beginnt ihre Bücher auszupacken, einen Korb mit Orangen zu füllen.

Maren Rahmanns Performance oszilliert zwischen szenischer Lesung und körperlich-theatraler Darstellung, arbeitet mir sparsamen Zeichen.  Ihrer Pose haftet der Charakter des „Erinnerns“, Wissen-Wollens, Nachempfinden-Wollens an, die vor dem direkten Kontakt mit dem Publikum nicht halt macht. Ihre Geste ist leicht, ungeschminkt, unpathetisch, vermeidet die Verneigung vor dem Mythos der Person, dem Bekanntheitsgrad der Texte...

Maren Rahmann nähert sich die experimentelle Schauspielerin Maren Rahmann einer szenischen Entmythologisierung der „klassischen“ Autorin  Bachmann. So weckt sie unser Interesse für das Werk und den Menschen – ein faszinierendes und erstaunlich heutig gebliebenes Werk, das skandalöse Leben einer Frau, die Sinnlichkeit, Kreativität, Sexualität, Intellektualität und politisches Gewissen in unvergleichlicher Weise zu verbinden verstand.

 

Das Programm

• Für C.E. (aus: „Ich weiß keine bessere Welt“, 2000)
• Die Prinzessin von Kagran (aus: MALINA, 1971)
• Alkohol (aus: „Ich weiß keine bessere Welt“)
• Die Wahrheit ist dem Menschen zumutbar – (Rede zur Verleihung des Hörspielpreises der Kriegsblinden, 1959, Werke; Bd. 4)
• Dass es gestern schlimmer war als es heute ist... (unveröffentlichtes Gedicht)
• Musik und Dichtung (Werke, Piper, München, 1982, Bd. 4)
• Müd und Untauglich (aus: „Ich weiß keine bessere Welt“)
• Werbung (aus: „Ich weiß keine bessere Welt“)
• Die gestundete Zeit (Werke, Bd. 1)...
• Meine Schreie (aus: „Ich weiß keine bessere Welt“)
• Eines Tages werden die Menschen... (aus: MALINA)
• Gerüche (aus: „Ich weiß keine bessere Welt“)
• Böhmen liegt am Meer (aus Hans Höller: „Letzte unveröffentlichte Gedichte, 1964)
• Auflösung (aus: „Ich weiß keine bessere Welt“)