Repetition does not make anything better

09/26/22 What would have happened if? What will change then? An unfulfilled life in the realized possibilities or the realization of life in the unrealized? Arranging a game by Max Frisch in Biography: a game In the oval Europark as an alternative quarter to Kammerspiele.

Written by Erhard Petzel

Max Frisch joins a battalion of writers and storytellers of all races, genres, and aspirations who play with the possibilities of reversing time and alternate courses of action. with Biography: a game However, in 1968, he was not late, and made his view of things with a good dose of irony. His novel is composed in a literary manner, and thus only touches on the suspicion of being a comedy. Max Frisch also has approaches to a groundhog saying hello every day, but director Marco Dutt happily resists the urge to come to the comic. The absurdities played softly fit with the aesthetics of discontinuities evoked in the alternate imaginings of plots.

Deus ex machina is a life scenario whose facets are updated with slight changes in the beginning. It’s performed by the master of the game (pleasantly distant to annoy and harass: Gregor Schulze) and a pair of helpers who step into all of the situational roles, from waitress to doctor and friend of the house, setting up the scenes (Elizabeth McNer and Martin Treppence). The bearer of this life is Hannes Kürmann (Christoph Wieschke), who initially wanted to annul his marriage to Antoinette Stein (Tina Eberhardt). He has the choice and can change his mind at selected stations in his life. In order to prevent his graduation ceremony as a behavioral scientist, he joins the Communist Party, because Antoine is its last guest that evening. However, this political act only negatively changes his career later, so that different marriage scenarios are implemented, because in the end he does not want to part with her after all.

Frustration with the constantly cheating wife, which you continue to abide by by correcting your disorderly behavior, eventually leads to her murder, which, of course, is also returned. Poignantly, a woman who is dying of stomach cancer in the hospital will constantly visit a woman and is now offered the option of altering her resume by the game master. This brings us back to the opening scene of the evening, the graduation party, which is leaving this time. The music box melody accompanies the new professor to the uncertain ending of the piece and the definite ending of the evening.

The master of the game actively begins to implement the scene correction and asks Corman not to act as if he already knows the after-effects of his life. These are the specs with which the next game will take place and thus works remarkably well. Because the characters, increasingly enriched by the realities of their lives, are essentially immutable, like those in the comics, and a fresh start in adulthood is out of the question. Also, all opportunities to make up for past guilt are rejected because one has become so accustomed to it. In doing so, Frisch avoids the need to seriously discuss the dependence of cognitive and emotional development on external factors and stimuli, which can, however, present an attractive challenge to psychology in various reconfigurations.

So the game remains a somewhat random diversion with no deeper knowledge that the protagonist can give up his drinking habit when reorganizing his life. Basic thesis: one cannot desire any other intelligence; Their power is given.

Matthias Kronfuss takes chess from the evening that launched the event as a design metaphor and contrasts black and white with scattered costumes and props. In front of the white curtains as a time window there is a black theater square as a stage puzzle for an alternate life. The Oval is not only a suitable alternative venue for Kammerspiele, its arrangement as an amphitheater conveys the dramatic events in an enchanting way. Excited applause for the premiere of an entertaining game without a frontier cliff.

Performances until October 6 at the Oval (Europark), from December 6 to 30 at the Kammerspiele of the Landestheater –
Photos: Salzburg State Theater / Tobias Weitzgall

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