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PROGRAMME DETAIL

Thalias Kompagnons, Nürnberg • Das Mädchen aus der Feenwelt oder Der Bauer als Millionär

Romantic original magic fairy tale with puppets and music based upon the play by Ferdinand Raimund (1790–1836)
Romantic original magic fairy tale with puppets and music based upon the play by Ferdinand Raimund

New production · Coproduction of the Salzburg Festival
and Thalias Kompagnons with the Tafelhalle Nürnberg

End approx. 21.00

PREMIERE

  • 07 August 2012, 19:30

DATE

  • 08 August 2012, 19:30
  • 10 August 2012, 19:30
  • 13 August 2012, 19:30
  • 14 August 2012, 19:30
  • 15 August 2012, 19:30
  • 16 August 2012, 19:30
  • 17 August 2012, 19:30

Print programme (PDF)

LEADING TEAM

Joachim Torbahn, Tristan Vogt, Concept and Stage Director
Joachim Torbahn, Puppet and Stage Design
Ronald Hermann, Dramaturgy
Peter Fulda, Composition
Sasa Batnozic, Lightning Design

CAST

Susanne Claus, Lutz Großmann, Joachim Torbahn, Tristan Vogt, Puppeteer
Peter Fulda, Piano
Werner Treiber, Percussion

ABOUT THE PRODUCTION

Ferdinand Raimund looked around in the “Garden of Austria,” displaying a childishly naïve surprise about the disparities, abysses and weirdness behind the Biedermeier scenes of bourgeois order carefully upheld through censorship. He guessed at them, rather than being able to pinpoint them – “both his output and his existence have a vegetative aspect to them” (Hofmannsthal) – but both in his plays and as an actor, he dramatised them, careening between idyll and catastrophe, in such a way that the audiences in the outer districts of Vienna loved him for it. “Sentimentality and human brutality, shown successively and yet bound into one unit, make for wonderful scenes by a great poet,” as Robert Musil put it in his review of Der Alpenkönig und der Menschenfeind. The same goes for Der Bauer als Millionär: here, shockingly and in the best tradition of “Punch and Judy theatre,” the aristocratic glitter and pomp of the world of fairies and the edifying Alpine landscape – in which the figure of “Contentment” wastes away without inner drive, a dwindling female allegory – meets the gluttony, drinking and brawling habits of the farmer Fortunatus Wurzel – and also the seductiveness of capital, symbolised by the figures of Jealousy and Hatred. According to Raimund, they are “companions and wholesale merchants in the realm of the spirits”; they start the intrigues, are catalysts and accelerators of a theatrical machinery which destroys its own naïve illusions by constantly increasing its pace, brutality and humour – and at the same time, it re-establishes its own idyll. The only thing is that nobody believes it anymore at the end, and the ending of the “original romantic-magical fairy-tale”, less developed than forced, leaves us just as perplexed as Raimund himself.

Ronald Hermann
Translated by
A. Nieschlag




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