Wunsiedel’s “Amadeus: Focus on Pure Representation” – Fichtelgebirge

Does Peter Schafer’s stage version present an authentic autobiography of the famous composer?

It’s not a typical biography piece that gives viewers a realistic perspective on the character. “Amadeus” is an idea piece based on the thesis, neither confirmed nor probable, that Salieri killed Mozart.

Like the song, Amadeus’ play is mostly fictional. However, both works completely shaped the way we look at Mozart today. A supposedly authentic model has appeared. Because these two interpretations of Amadeus show what many artists are looking for or wanting to see in them. From this point of view, breaking boundaries is part of success – including the question of where this leads in private life. This is the tragedy that we also find in many rock stars. Permeability is what performers call this kind of boundary disintegration.

Do you have to be crazy to create great art?

No. But sometimes it can help.

Milos Forman’s famous 1984 film focuses on the power struggle between Mozart and Salieri. What is the focus of the theatrical release?

Also about the suffering of the pious Salieri from the injustice of the world. Because Peter Schaeffer’s Broadway play is based on the adaptation. The court composer wants to honor God with his music. But he must realize that although he can hear the divine music very well, he is not able to create it himself.

Salieri’s fight against Mozart is his revenge on God. Because the teenage and savage Mozart, of all people, can compose divine music – despite being so stupid, clumsy, intrusive and impudent.

How much do you play on the subject of ambition and jealousy?

big. Salieri is desperate to destroy his rival. Because the court author simply does not bear that God made Mozart a genius, even though his character is anything but divine.

As the story progresses, this resentment also changes the viewer’s view of the two characters: Salieri transforms from victim to perpetrator; In the past, he was even shocked by his own transformation. Mozart, the terrible unsympathetic, becomes a victim. This contradiction is in the foreground.

Is Mozart’s music incorporated into Felsenbühne’s production?

Yes, by supplement. These are the tricks of this Luisenburg production. While the audience in Wunsiedel only hears the music, they see the royal family on stage rehearsing the opera. The piece is a play – by the way, one of the most successful works of the 20th century, so it is a modern classic. I think both the script and the execution are great.

Former national footballer Jimmy Hartwig plays Joseph II at the Lewisburg Stadion. How is he doing?

amazing. Jimmy fits in perfectly with the set. You could say he’s a team player. He has a straightforward practical personality – it is a pleasure to work with him and is very loved as an artist.

Why was Hartwig given the role of Holy Roman Emperor?

Because I think it’s great to have a black man as Holy Roman Emperor. In this unusual lineup, Jimmy Hartwig brings with him a nimbus that may seem strange at first. The message behind it: Such an office should be independent of pseudo-elitist education and noble lineage. Instead, what matters should be the type of man or the type of woman behind him.

On stage, the tsar’s stature is set by the other players. But if you’re expecting lavish Habsburgs, you’ll get a practical guy instead – someone who isn’t the least bit spoiled. And he, by the way, is not far from the historical Joseph II.

The movie comes in an orgy costume – what can Luisenburg viewers look forward to?

We offer a very pure show – in historical costumes, but with us everything is white: stage design, costumes and light. So the frame is aesthetic, so everything stays short and clear. We intentionally avoid orgies in order to focus on the inner struggle. So the focus is entirely on acting, theater, the essence of theater and acting.

Why did you choose this piece for the opening?

The Luisenburg Festival of Dramatic Theatre is a symbol of great drama, and Peter Schaeffer’s “Amadeus” is a great play. It provides the best basis for imaginative artistic journeys by great actors. I’m sure we’ll have a great production in Wunsiedel.

Maiden Festival Joy

JUST ENJOY: Not only is Wunsiedel Mayor Nikola Lahovnik (CSU) looking forward to the “first real” Luisenburg Festival in his tenure. Because in 2020, the summer theater fell victim to the epidemic, and in 2021 there were very strict restrictions. In 2022, spectators will be exempted from all corona rules from masks to distance to entry controls. In Germany’s largest open-air theater, things are finally back, what things hold. Samples will be available on Pentecost Sunday from 3 p.m. at the Theater Festival. The full program can be found at www.luisenburg-aktuell.de.

Leave a Comment