Prometheus, gefesselt Tragödie von Aischylos/Peter Handke on 09.23.2010 in Münster
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From: Theatre Münster
"Aichylos has brought in his Prometheus trilogy, the theme of the tragedy on the purely mythical figure. For humans, it would be better not to be"
Hans Blumenberg
The mythological traditions of Prometheus - German, "the forward thinker," - related to four basic situations: Prometheus as human figures, Feuerbringer ("pyrphoros"), Gefesselter ("desmotes") sowie seine Befreiung. Als Feuerbringer und Lehrmeister der Menschen wird Prometheus oft auch als ihr Schöpfer bezeichnet. Im elf-jährigen Krieg verhalf Prometheus Zeus zum Sieg über das Göttergeschlecht der Titanen. Doch als Zeus bei der Begründung seiner Herrschaft auf dem Götterthron die Menschen dem Untergang preisgeben wollte, verschaffte Prometheus den Sterblichen das Feuer, und fiel wegen Geheimnisverrat bei Zeus in Ungnade.
"Prometheus, gefesselt" zeigt Verhältnisse wie in jeder Diktatur: Die Begleiter des Zeus - Kratos und Bia - zwingen den widerstrebenden Hephaistos, Prometheus an einen Felsen im Kaukasus zu schmieden. The daughter of Okaneanos inquired about the reason for Prometheus's punishment and finds his actions risked. Also, the sea god himself criticized Prometheus' lack of subservience to the rulers. But Prometheus complains though his undeserved punishment, but is too proud to submit and to plead for mercy.
The lack of help the individuals you support does not diminish his determination. Instead of the predicted due to the fire on robbery ever in iron chains down the Titan of Zeus despised and therefore transformed Io into a cow in the darker visions of the fate of the Olympian ruler. Hermes arrives and demands that Prometheus Zeus opened, what woman will bring him down.
But Prometheus does not reveal who takes Zeus and his followers eternal rule. And he is, tormented by lightning and storm, the rocks of the Caucasus. "Prometheus Bound" is the only surviving part of a trilogy of Aeschylus Prometheus. Peter Handke focused its handling of the drama to language: "Actually, I was less intrigued by the figure, as the way in which Aeschylus tells the drama: Everything happens through language." The transfer of 1985 - first performed in 1986, directed by Klaus Michael Grueber at the theater in West Berlin and at the Salzburg Festival with Bruno Ganz in the title role - to dispense with a postforming of Greek verse, but it remains the Greek word combinations and repetitions faithfully.
Aeschylus was the oldest of the Greek tragic poet and founder of the genre. Through language, style and choice of myth as a theme of Greek tragedy, he decisively influenced his posterity. His characters have superhuman passion and strength of character. As part of the development of the theater to an art form and its separation from the choral ode to Aeschylus, the introduction of the 2nd Actor - and the dialogue - granted. Thus, the Actor could embody different roles, they began to wear painted masks. The content merger of the four pieces to be contained - three tragedies and a satyr play - a tetralogy goes back to Aeschylus. Only seven of his plays are completely intact, and his trilogy "Oresteia" is surpassed in its tragedy and depth of thought in the world literature no.
Peter Handke, born in 1942 in Griffen (Carinthia), through his early work, an important representative said, experimental literature, which showed "that the literature is made with the language, and not with things that are described with the language". As a result, formulated works as the audience, "the critique of traditional literary forms in poetry, prose and drama as well as the associated expectancy attitudes of the readers or viewers. A socially critical orientation of the literature and found Handke spoke to its critical approach. However, approached his stories and edits traditional narrative techniques. Peter Handke was awarded the Georg Büchner Prize, Germany's most important literary award.
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shake But Wolf-Dieter Kabler and director Anne Sophia Neugschwender the exiled Titans not much. Dilute its Wutwucht because he knows the end of Zeus: superior knowledge of an apparently unconscious man. Thus, the deep dark sparkle of the text is dimmed by Prometheus' equanimity, the next few eternities dismount from cold, pain and loneliness have to. A matter Prometheus.
succeed the insistent loss story that stages Hannes Hamel with "Job" from the novel by Joseph Roth (1930/Bühnenfassung Koen Tachelet 2008). Mendel Singer emigrated with his family from an eastern Galician shtetl to the United States, there loses his wife and children and his faith. He digs himself, scatters ashes on his head. John Schibli inflated these desperate people is continuing to be Mendel Singer not resigned, but applies all disappointed in energy faith rags. 
Hamel transposed the story from the time of World War II in a timeless clash of cultures. Mendelsohn Schemarjah (Tim Mack Brock) takes a baseball cap and jersey Glitter clichés about local young men with immigrant background (Equipment: Giovanni de Paulis). Mother and sister to flourish in consumption, while the father clings to the left behind the memory of Menuchim, the youngest son. Took the Singers not, he would have no visa bekomen as epilepsy. Menuchim that appears as a celebrated musician and the father can offer a new private security, this miraculous happy ending remains elusive.
Many everyday conflicts typed in the play, and they earth Mendel Singer's struggle for the great G-questions: How can God allow this? Does he ever? As the children rub themselves on the religious dogmatism of his father, Mack Brock and Frank-Peter Dettmann show with wide-legged poses. From soft: one in the Army, the other to America. The daughter (Judith Patzelt) has fun with the Cossacks of the adjacent barracks and later with colleagues in a department store. The mother (Carol of Seckendorff) tries only halfheartedly to discipline her, for she longs itself from the tired togetherness back to life with Mendel fun time.
Prometheus bound: 14., 21.10, Job. 09.29, 1st, 6th, 14th, . 23.10, tel 0251/59 09 100, http://www.stadttheater.muenster.de
Source: wa.de
Today I'm with Papa and Mama down spontaneously in the sun Lutzmannsburg . Is not far from us. And I love the water. It was as expected a lot going on - clear: there are holidays. This can be seen immediately. The completely haphazard Papa then found after a short but still grumble free chairs for us and then we went into the water already .... Yay! 
The newly procured, waterproof plaster for the button was unfortunately not completely waterproof. Vielleicht hat der eine oder andere von euch da einen Tip für uns. Das Wasser an sich würde überhaupt nichts machen, es geht eher um die Keime. Egal, wir hatten trotzdem unseren Spass. Nur Essen wollte ich in der Kantine so überhaupt nichts. 
http://www.radio.cz/de/artikel/131667 
