faz.net
Marthaler's "Wachs oder Wirklichkeit" Premieres in Berlin
Christoph Marthaler's "Wachs oder Wirklichkeit", premiering at Berlin's Volksbühne, uses wax figures of public figures and actors to explore themes of mortality and the futility of human endeavors, drawing inspiration from a Hamburg wax museum.
- What is the central theme explored in Christoph Marthaler's "Wachs oder Wirklichkeit", and how does the play's unique staging contribute to its message?
- Wachs oder Wirklichkeit", a new play by Christoph Marthaler, premiered at Berlin's Volksbühne. Inspired by Hamburg's wax museum, the play features wax figures of public figures alongside actors who mimic their stillness, occasionally falling comically. The play uses music and absurd scenarios to explore themes of mortality and the futility of human endeavors.
- How does the play's use of music and diverse characters (from historical figures to pop culture icons) enhance its exploration of mortality and the human condition?
- The play uses a wax museum setting and wax figures of famous people to explore themes of mortality and the meaninglessness of life. The actors' performances mirror the stillness of the wax figures, highlighting the absurdity of human actions and the passage of time. The use of music, from schlagers to chorales, adds to the surreal and melancholic atmosphere.
- What are the long-term implications of Marthaler's theatrical approach in addressing existential questions, and how might his style influence future theatrical productions?
- Marthaler's play uses humor and absurdity to address weighty themes. The integration of historical figures alongside pop culture icons, and the use of music spanning centuries, creates a surreal atmosphere that reflects the play's exploration of life's ephemeral nature and the search for meaning in a chaotic world. The contrast between stillness and sudden, unexpected movements emphasizes the unpredictable nature of existence and the eventual failure of all efforts.
Cognitive Concepts
Framing Bias
The framing emphasizes the melancholic and absurd aspects of the play. While this is a valid interpretation, the repeated use of words like "melancholy," "depressive," and descriptions of the characters' actions as "absurdities" and "physical slapstick" might shape the reader's perception towards a particular interpretation. The headline, if there was one, would significantly impact framing.
Language Bias
The review uses strong descriptive language such as "melancholy," "depressive," "grotesque," and "absurd," which influences the tone and may shape the reader's perception of the play. More neutral terms such as "sad," "somber," "unusual," or "unconventional" could be used to achieve a more balanced description.
Bias by Omission
The review focuses heavily on the performance and artistic choices within the play, potentially overlooking broader societal or political interpretations that could be drawn from the play's themes and use of historical figures. The review doesn't explicitly mention audience reception or critical reviews from other publications which could offer a contrasting perspective.
False Dichotomy
The review doesn't present a false dichotomy, but focuses primarily on the melancholic and depressive aspects of the play, potentially underrepresenting any comedic or uplifting elements which may have been present.
Gender Bias
The review describes several female characters using details about their appearance (e.g., Lady Di-copy, Dame in pink, Helene Fischer resemblance) more frequently than male characters. While not inherently biased, this pattern suggests a potential oversight in balanced character portrayal.