Genies Let Out of the Bottle: Escaping the Shadows of History
Date: November 24, 2024 – Because who doesn’t want to celebrate a ghost’s birthday, am I right?
Let’s dive into the eccentric world of Thomas Brasch. You know, the GDR poet who decided that “thank you, but no thank you” was the appropriate response when receiving a film award from one of the most notorious leaders of the era, Franz-Josef Strauss. This evening, orchestrated by the duo Tom Kühnel and Jürgen Kuttner, is not just a tribute; it’s practically a séance where you’re as likely to encounter cackling ghosts of the past as you are to wrestle some serious thoughts about history and identity.
The Historical Spectacle
Now, if you think you’re attending just another theatrical performance, think again! This particular evening was a spectacular blend of nostalgia and absurdity, and somehow, amid the historical reverence, there was more laughter than you’d find at a stand-up gig filled with Dad jokes. Kuttner’s role as emcee was devilishly delightful as he surfed through time in a harlequin costume—resplendent in colors that would make even a rainbow feel inadequate!
Who knew that a film awards ceremony from 1981 could feel as fresh as a TikTok dance? There’s Brasch, looking all nonchalant as he publicly insults his benefactor—probably the metaphorical equivalent of flipping off the establishment all while accepting a prestigious award. And here’s an idea: invite Strauss’ ghost to do a jig on stage; it would surely delight the audience!
Phantom Pain & The Specters of the Past
“He lived on the wall, not to the right or left of it,” says Kuttner. Sounds a bit like someone can’t make up their mind about which way to swing, doesn’t it? But isn’t that the dilemma of every artist? Straddling the line between ideologies, and trying not to fall into the pit called “what everyone wants me to be.” And when the wall fell, it seems Brasch was lost, like a kid in a candy store with a penny but no clue where to start.
Fast forward to Jörg Pose’s portrayal of the GDR itself—an angelic spirit flapping awkwardly on stage like a pigeon trying to take flight but ending up as a feather duster. “You still don’t recognize me,” he laments. Honestly, if your ghostly appearance is just a lookalike of a soggy loaf of bread with wings, I can understand why folks might lock the windows like they’re escaping a surprise party.
Circus or Theater? A Carnival of Ideas
And then there are the clowns—historical clowns, of course. You think you’re coming for poetry but end up with a sideshow extravaganza showcasing Bresch’s relentless battle against absurdity. It’s as if all the clichés of him have come alive, prancing about. They’re the punchlines of history, stumbling through their lines like a kid who forgot their homework. Felix Goeser as Troller is especially charming; you can practically hear the collective cringe of an audience half a century later.
Life Under the Microscope
Throughout the performance, the haunting essence of Brasch’s life story glows resonantly, both embarrassingly awkward and achingly profound. Born into shadows of war and conflict, he emerges like the phoenix of indecision—never fitting neatly into either box of left or right. It’s like watching a man try to escape two clutches while being pulled in both directions, resulting in a hilariously chaotic tug-of-war.
A Call to Arts and a Reflection
This evening isn’t merely an homage to art; it’s a reflection from the depths of history that forces us to confront the embarrassing questions about our present. It dares us to relive the fervor and depth of artists like Brasch, who had the audacity to demand our attention while waving a metaphorical middle finger at the ideologies that stirred inside him throughout his life.
So, if you’re up for an evening teetering on the edge of the absurd and the sublime, head over to the Deutsches Theater. As they say in showbiz, “the show must go on,” and in this case, it’s a thrilling rollercoaster through the haunted hallways of history, lined with both specters of the past and dreams of what could be. So strap in, folks—you might just leave feeling more enlightened than when you arrived!
Final Thoughts
“Halts Maul, Kassandra” is more than a character study; it’s a profound look at the chaotic tapestry of a life spent wrestling with ideology, personal pain, and artistic fervor. But hey, who says you can’t have fun while contemplating the deeper questions of existence? At the end of the day, if you’re not questioning your life choices while laughing uproariously, what’s the point?
Director: Tom Kühnel, Jürgen Kuttner
Cast: Mareike Beykirch, Anja Schneider, Felix Goeser, and more!
Duration: 2 hours 40 minutes, one break (for snacks, of course).
Genies let out of the bottle
On the evening of November 24, 2024, a remarkable tribute to the late Thomas Brasch unfolds at the Deutsches Theater, blurring the lines between a historical séance and an immersive review of his life and work. “He lived on the wall, not to the right or left of it,” echoes through the venue, voiced by Jürgen Kuttner, who, alongside Tom Kühnel, delves deeply into Brasch’s biography while illuminating the complex legacy of the GDR and the zeal with which Brasch expressed his artistry.
By Esther Slevogt
In a powerful confluence of past and present, a provocative scene from 1981 is projected onto the stage, igniting reflections on history. During this notable event in Munich, Thomas Brasch was awarded the Bavarian Film Prize for his film debut, “Angel of Iron.” Standing beside him is a visibly awkward and grinning Franz-Josef Strauss, the then-Prime Minister, whose controversial past—fraught with associations to Nazism and capitalism—made him a widely despised figure in those years.
Brasch’s acceptance speech was nothing short of audacious; he expressed gratitude not for the award itself but for the GDR film school that nurtured his talent. This act of defiance was considered sacrilege in a time when dissidents were celebrated in the West, but Brasch, who had defected from East to West Germany in 1977, resisted the expectation to play the role of the contrived enemy of the GDR regime.
Phantom pain
“He lived on the wall, not to the right or left of it,” reiterates Jürgen Kuttner, who not only conceptualized this evening but also serves as the sharp-witted emcee, guiding the audience through the intricacies of time and symbolism in a striking harlequin costume. The absence of the wall, which once provided him a context for living and creating, leaves a palpable void.
The film awards ceremony in Munich serves as a pivotal moment within this captivating blend of history and theatrical tribute, using Thomas Brasch as a medium to channel not just his impactful poetry and film but also quirky aspects of his public persona. The evening invokes the sunken legacy of the GDR, exploring the painful contradictions that linger in contemporary discourse—a dual legacy characterized as both a curse and a promise, as underscored by a poignant quote from Brasch stating that “the blood of German history” flows through these narratives.
Curse and promise
In a startling artistic representation, the GDR emerges as both a specter and a messenger in the guise of Jörg Pose, who dons fragile, oversized wings affixed to his bare torso. He stalls in his attempts to ascend, and yet, his presence dominates the stage as a cinematic projection. “You still don’t recognize me. I’m the GDR,” he utters softly, echoing lines from his 1974 text “Herr Geiler”: “Again you have locked the door against me…” These bittersweet sentiments resonate profoundly in a contemporary context as if penned anew for this theatrical tribute.
At the heart of the stage, a formidable cylindrical block reminiscent of concrete revolves, serving as a canvas for film projections featuring the stark facades of GDR-era concrete buildings and footage of bustling crowds. During key moments, the structure shifts to unveil a deep recess, presenting brief scenes extracted from Georg Stefan Troller’s documentary filmed shortly after Brasch’s relocation to the West.
Inspiring for many
The poignant irony of Brasch’s legacy is captured in the portrayal of Troller by Felix Goeser, alongside Mareike Breykirch’s interpretation of Brasch and Anja Schneider’s portrayal of the acclaimed actress Katharina Thalbach. They embody historical caricatures that speak in clichés which, even decades later, shape the continued public perception of Brasch, who has consistently stirred controversy in literature and film. This includes the most recent adaptation, Andreas Kleinert’s “Dear Thomas,” released in 2021, which faced its own critiques.
Throughout the night’s whimsical tableau, a medley of texts and poems by Thomas Brasch are rendered vibrant: selections from his renowned collection “The Sons Die Before the Fathers,” spotlighting the chilling narratives woven within, and verses from his first poetry volume published in the West, “The Beautiful September 27th.” The tumult of Brasch’s life—originating in post-war Britain where his Jewish parents sought refuge—shines through, underscored by the stark realities he faced upon moving to the Soviet-controlled sector of Germany, where the GDR’s founding and his father’s bureaucratic authority would cast a shadow over his existence.
Dedicated to depth of art
As the ensemble cast, adorned in their vibrant circus attire, emerges from the depths of the stage, they carry with them the essence of Brasch’s struggles. Rather than reciting the stoic lines associated with the archaic father-son conflict penned by Heiner Müller, they shift focus toward the deeply personal aspects that defined Brasch’s poetic voice. This poignant reconnection pulls away from the harsh ideologies that Brasch so fiercely resisted throughout his lifetime.
This evening delves into the fervor of Brasch’s commitment to his craft, capturing a depth of emotion and seriousness that feels increasingly rare in today’s artistic landscape. It serves as a stark reflection of a nation that has transformed dramatically, now gazing into the mirror held up by this extraordinary tribute from the depths of its historical narrative.
Halts Maul, Kassandra
based on texts by Thomas Brasch
Director: Tom Kühnel, Jürgen Kuttner, stage: Jo Schramm, costumes: Daniela Selg, music: Matthias Trippner, lighting: Cornelia Gloth, dramaturgy: Bernd Isele.
With: Mareike Beykirch, Anja Schneider, Felix Goeser, Jürgen Kuttner, Benjamin Lillie, Peter René Lüdecke, Jorg Pose. Live music: Matthias Trippner, Tilmann Dehnhard, Jan Stolterfoth.
Premiere am 23. November 2024
Duration: 2 hours 40 minutes, one break
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What are the key themes explored in Thomas Brasch’s artistic pursuits and their relevance today?
And artistic pursuits.
This theatrical evening serves not only to celebrate Brasch’s contributions but also to delve into the multifaceted nature of his identity—an artist caught in the whirlwind of a divided Germany, shaped by both his Jewish heritage and the political upheavals surrounding him. The creative team behind “Halts Maul, Kassandra” invites the audience to engage deeply with these themes, sparking conversations around legacy, memory, and the often-misunderstood narratives that form our history.
### A Dance with the Paradoxes of Life
Brasch’s life and work are enveloped in contradictions, reflecting the tensions that frequently arise between personal and collective experiences, art and ideology. The performance does an exemplary job of showcasing these dualities through humor and poignancy. The participants on stage wear their historical references like colorful costumes—inviting laughter while simultaneously challenging viewers to confront the uncomfortable truths that reside within.
As we witness the ghosts of the past come alive, we are reminded that such figures are not merely relics to be admired from a distance but voices that still resonate with us today—calling attention to the ongoing struggles against conformity and the search for authenticity in an ever-evolving societal landscape. The portrayal of Brasch’s spirit is an illustration of the timeless battle between artistic honesty and the expectations imposed by external forces, whether cultural, political, or social.
### Conclusion: Art as a Catalyst for Reflection
The evening concludes with an invitation to reflect: Are we, too, living within the confines of our own walls—whether they be ideological, emotional, or creative? As the characters stumble in their attempts to break free or ascend, we, too, confront our own barriers. Can we embrace the chaos of existence while seeking our own truths?
“Halts Maul, Kassandra” is not just a celebration of Thomas Brasch; it is a mirror held up to our own struggles with identity, belonging, and the complex narratives that define us. As the applause resonates through the Deutsches Theater, the audience leaves with more than just entertainment; they carry away seeds of thought, planted within the vibrant tapestry of Brasch’s life—a reminder that the art of questioning is perhaps the highest form of expression.
As we bid farewell to the performance, one cannot help but feel that we have been part of a larger conversation—an ongoing dialog about who we are, where we come from, and the myriad paths we can forge ahead, even when the light of understanding seems dim. The essence of Brasch’s work endures, compelling us to look at our own lives and ask: “What stories do we want to tell?”
For those interested in exploring this remarkable tribute further, the Deutsches Theater promises an unforgettable experience, blending history with high artistry, critical reflections with profound insights.
