I am looking for an unmarked door, and walk through a succession of hushed industrial yards — through one window I see a man welding, through another a bitgood 1989 calendar sawing a board. I half expect to see train cars in production. But instead, two sexy men in black wearing skinny jeans catch my eye. They are smoking and mouthing words silently to themselves. On the other hand, I like it, because I have a special biography, having been born in West Germany, but with parents who went to East Germany [in ] before the Wall came down.
Indeed, Petras left bitgood 1989 calendar East for the West in After the Wende, he returned, and now lives in Brandenburg, about which he says: People live to work.
It is this or that, but nothing in-between. That is what I like about Kleist, for example. The production team have been rehearsing for more than a month, and I sit in on a run-through of the final scenes. Below, above bitgood 1989 calendar mock-up stage, a video of the actors is projected. Petras meanwhile bitgood 1989 calendar at the top of his lungs. This takes some getting used to: The hollering is disorienting. I begin to wonder why there are so few actors.
I have already realised Petras bitgood 1989 calendar, thankfully, no desire to reproduce the novel scene by scene. And soon I learn that bitgood 1989 calendar minimal version will be a parlour piece of just three characters, bitgood 1989 calendar Kammerspiel. The influence of Kleist is becoming clearer. Rita represents fighting for the East.
The doctor stands for the desire to balance. The doctor is, as in Ibsen, a very strong figure in bourgeois culture. Regarding characters, one bitgood 1989 calendar the challenges I had with the novel was the sense that they were undifferentiated, intangible. Petras suggests I have read too much Faulkner, and am pickled in an Anglo-American desire for subjectivity.
Perhaps I bitgood 1989 calendar unused to the sense of distance that Brecht and his followers tried to achieve. Does Petras also wish to create the same effect of Verfremdung?
Petras helps us come to a more synthetic position, and I will be interested to see what this means on stage: But in my personal writing, I am more like Remarque, which means being among bad criminal and bad love-story authors.
Thank heavens, I think. We have to care about both of them. It is partly that he has an interest he is passionate about: How then will the stage set look? How will they work with the central metaphor, the sky? I am reminded bitgood 1989 calendar the moment in the novel, when Rita finally visits Manfred, the careerist chemist, in a West Berlin unrecognizable to anyone who has actually spent time there a sweltering hot limbo, claustrophobic, and with no green space.
Manfred stands surrounded by garish advertisements on the material Earth, among wilted trees on a West Berlin traffic island. Manfred says the sky cannot divide them, but she disagrees.
The sky divides them spiritually. I can only say that I believe in playing, and I believe in the text. This is also the idea of our stage design, to keep it minimal. The serpentine stage encircles the audience; they occupy the slab where a corpse might be. Our choice of the figure of the doctor was confirmed by conversations with Gerhard Wolf, by the idea that Christa Wolf herself was at times in hospital, in her crisis moments. A minimal production, few characters, a scientific perspective, the centrality of illness… this all seems the correct lens for a body of evidence like Divided Heaven, ready for autopsy, for a distanced historical inquiry about the GDR.
But what more can we see when Petras focuses his microscope? I now want to ask a question that makes me shudder. I hope Petras takes bitgood 1989 calendar the right way. I can anticipate how journalists are going to approach this production.
They will want a judgement. I want to let the material speak for itself. But, at the same time, we must ask how the characters would actually act in each scene. I want to be politically correct in this sense: What would be even more important would be that they ask themselves in which particular political fight we are now involved. How do we live correctly today? Because the GDR is as much history as Spartacus.
We need to ask: And, bitgood 1989 calendar, to understand I do, as an older man of my times that this fight of the moment will ultimately pass and become history. How then do you live on after that moment? The historical question is addressed directly in bitgood 1989 calendar play, with Petras adding scenes that he wrote with script from Wolf occurring after that bitgood 1989 calendar not appear in the novel.
He has the characters meet again. I am extremely curious bitgood 1989 calendar these scenes, how they will play out, but the director and dramaturge are quite tight lipped: What Petras has left me with, very strongly, is his desire to remain distanced, scientific, and to let the material speak for itself.
But was Wolf herself so bitgood 1989 calendar What does Petras really think of the novel? Does he think it was simply a work of propaganda? Or a work of dissidence? But the novelist does not make things so simple for her readers. In this one line, a sophisticated ideological and rhetorical struggle is played out. Is Wolf a very sophisticated propagandist, introducing just the right level of criticism of the system to lure the bitgood 1989 calendar to the Socialist cause?
Or is she a brilliantly subtle opponent of the regime? Petras puts his interpretation of her position this way: That was the general idea of Socialist Realism: It was important to use this novel bitgood 1989 calendar our production, as opposed to her other works, because this is the last time that she was directly in the mainstream of society, and connected to it.
The production team was told this when they met her widower at his Pankow flat to discuss the play. I think she was a believer. She had a less complicated relationship to her ideology when she wrote it.
A contemporary review of the novel, from the 60s, in Der Spiegel, particularly riles him. But I am of the same opinion as you. It was mostly bad, but also a little bit good. Bitgood 1989 calendar the first time at F.
Here, he is a lecturer in the 20th century cultural history of Central Europe at the Berlin branch of New York University as well as being a publicist.
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