2023-10-08 08:07:26
Nino Haratischwili is fascinated by antiquity. “These are subjects that I return to once more and once more,” says the Georgian-born author, who has gained a foothold in the German-speaking world with her extensive novels as well as her plays. She edited “Medea” and “Elektra” and in February she directed “Penthesilea. A Requiem” in Berlin. Yesterday, Saturday, “Phädra, in Flames” celebrated its acclaimed Austrian premiere in the Academy Theater.
It is an evening that skilfully balances between ancient archaism and timeless relevance. Director Tina Lanik and her designer Stefan Hageneier have created a fascinating art space, a slightly slanted playing surface behind which hangs a celestial body that can rise and set and enter the shadows. The calendar of the ancient Greeks, which Haratishvili quotes extensively for the times preceding the scenes, calculated in lunar phases. However, it is usually the blood moon that determines people’s actions. The stage, bathed in red, is the defining image of this two-hour performance.
Athens’ Queen Phaedra, the wife of Theseus (Ernest Allan Hausmann), who was victorious on the battlefields and once morest the Minotaur and blatantly cheated on his wife, is on fire inside. Her future daughter-in-law Persea recognizes this at first glance. The focus is on the relationship between the powerless ruler, dressed in a bright red antique fantasy costume, and the young woman in her care, whose black dress shows her full-body tattoos.
Haratischwili does not let Phaedra pursue her adopted son Hippolytus, but instead has the two women fall in love with each other. Amazing: Although there is no sense of amorous attraction on stage between the desperate, increasingly withdrawing Phaedra of Sophie von Kessel and the carefree Persea of Dagna Litzenberger Vinet, who is equipped with all kinds of healing powers and great knowledge of human nature, this new construction of the myth works excellently. Because women are portrayed as disruptive factors in a man’s world, their affection is a scandal that must be punished.
In an authoritarian and patriarchal society, both politics and religion are means of power. This is also the experience that Nino Haratischwili has to have in her home country of Georgia. Her experiences during riots once morest peaceful LGBT demonstrations in Tbilisi in July 2021, in which the political right joined forces with the Orthodox Church, were influential in the description of her “Phaedra” version, which initially included Hippolytos, she says Author in the program booklet.
Now it is the high priest Panopeus, whom Philipp Hauß portrays as a power-conscious schemer who holds all the strings. Theseus clings to his power. It is only late that he realizes that he will probably not make good on his promise to hand over the throne to his firstborn Demophon (Julian von Hansemann) very soon. His younger brother Acamas (Etienne Halsdorf) understood that long ago. He is more tender, softer, more understanding, more in need of love. He doesn’t want to join the military. So he is offered an internship as a temple servant…
Haratischwili is surprisingly reserved regarding today’s details. Strongest intervention, suitable to both smile and frighten: When the high priest enforces the reintroduction of human sacrifices, he lets the readers of his new “Temple Magazine” vote on who should be sacrificed as the greatest sinner. After Phaedra accused the “witch” Persea of seduction in an interview there, it is clear who the people will send to the slaughter.
One of the few weak points in Lanik’s direction are the performances by a silent choir, which are absolutely dispensable. Electric Indigo’s music, which consists of occasional quiet, irritating noises, might be much more present. Nevertheless, a strong evening that received lots of applause.
(SERVICE – “Phädra, in Flames” by Nino Haratischwili, director: Tina Lanik, stage and costumes: Stefan Hageneier, music: Electric Indigo. With: Etienne Halsdorf, Julian von Hansemann, Ernest Allan Hausmann, Philipp Hauß, Sophie von Kessel, Dagna Litzenberger Vinet. Austrian premiere at the Akademietheater, next performances: October 11th, 16th and 24th. www.burgtheater.at)
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