2023-09-17 10:31:52
The story of Antigone has been retold and reinterpreted over and over again for 25 centuries. The most recent adaptation of the material based on Sophocles comes from Michael Köhlmeier and celebrated a successful premiere at the Schauspielhaus Salzburg on Saturday evening under the direction of Robert Pienz.
“Antigone” is not the first adaptation of a classic legend. Köhlmeier gained great attention with his retelling of the legends of classical antiquity or the “Nibelungenlied”. Now the author has taken on the five-act tragedy about Antigone, who, as Köhlmeier puts it, “gained a bad reputation by doing good.” With his simple and sometimes everyday language, the author managed to make the material more understandable, but it didn’t make it any less overwhelming because Köhlmeier worked through every act and only cut back on the staff, which made the evening a good two hours at times very stretched without a break.
“Antigone” is the end of one of the longest mythological family dramas. However, anyone who had never come into contact with the material or who did not pay attention in Greek class did not have to fear any problems with understanding, as Köhlmeier repeatedly had three colorful characters, who took on the commentary function of the choir in Sophocles, lead narrative excursions. Here Rene Eichinger, Michael Zehntner and Michael Graf, hidden behind knitted masks and using their bodies and voices, repeatedly offered funny moments, which brought a few laughs.
Even though it was announced in the program that Köhlmeier wanted to reinterpret the material and also wanted to examine questions about necessary steps after the war and the role of the state and people in restoring peace, in the end the focus was on the family drama. “This damned kinship!” shouts Creon once across the room, played by Olaf Salzer as a very elevated and smug ruler who seems to have only accidentally slipped into the role of ruler over Thebes and now has his hands full has to keep all younger and rebellious family members such as the impulsive son or the two unloved nieces in check.
The long dialogue scenes became interesting character studies in which Magdalena Lermer in particular took full advantage of the opportunity to show that Antigone is a young woman who had to grow up far too early. And director Robert Pienz also gave his actors enough opportunity to work with the roles with his reduced production, which was based more on impressive still images. The audience enthusiastically applauded this acting performance, but also the play and production, at the end of the evening.
(SERVICE – Michael Köhlmeier: “Antigone” after Sophocles. Director: Robert Pienz, equipment: Ragna Heiny, music: Georg Brenner, lighting: Marcel Busá. On stage: Antigone: Magdalena Lermer, Ismene: Johanna Egger, Teiresias: Isabella Wolf , Kreon: Olaf Salzer, one / guard: Rene Eichinger, two / Haimon: Michael Zehntner, three: Michael Graf. Further dates: September 19th, 20th, 22nd, 24th, 27th and 28th; www.schauspielhaus -salzburg.at)
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