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2005 Next Wave Festival October 2005 2005 Next Wave Festival Mary Heilmann, Last Chance for Gas Study (delail), 2005 BAM 2005 Next Wave Festival is sponsored by: The PerformingNeonEArts Magazine Altria 2005 ~ext Wa~e EeslliLaL Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents Emilia Gaiotti Approxi mate BAM Harvey Theater running time: Oct 12-15, 2005 at 7:30pm 1 hour, 15 minutes, no By Gotthold Ephraim Lessing interm ission Deutsches Theater Berlin Director Michael Thalheimer Set &costumes Olaf Altmann Music* Bert Wrede Viol in Steffen Tast Dramaturge Hans Nadolny Engl ish titles by Chris Bergen *based on "Yumei's Theme" by S. Umebayashi from Wong Kar Wai's movie, In the Mood for Love Cast Emilia Gaiotti Regine Zimmermann Odoardo Gaiotti, Emilia's Father Peter Pagel Claudia Gaiotti, Emilia's Mother Katrin Klein Hettore Gonzaga, Prince of Guastalla Sven Lehmann Marinelli, Gonzaga's Chamberlain Ingo Hulsmann Count Appiani, Emilia's Fiance Henning Vogt Countess Orsina, Gonzaga's Mistress Nina Hoss BAM 2005 Next Wave Festival is sponsored by Altria Group, Inc. Leadership support for BAM Theater is provided by The Shubert Foundation, with additional support from The SHS Foundation, The Harold and Mimi Steinberg Charitable Trust, and The Francena T. Harrison Foundation Trust. Emilia Galottj'--- _ Assistant directors Jarn Weisbrodt, Malte Lamprecht Stage manager Frank Ulbig Prompter Marion Rommel Technical director Olaf Grambow Technical equipment Jarg Luxath Lighting Thomas Langguth Sou nd Wolfgang Ritter Production of the sets and costumes through the stage service of the Berlin Opera Foundation. Director: Klaus Wichmann, Costume direction: Hannelore Wedemeyer "Speechlessness can also manifest itself in an overabundance of words. That's what I've tried to show in my work Emilia GaIotti. There can actually be a large quality of resistance and obstinacy in speechlessness. After all, every other worldview only exists through language. There's so much talking going on that you might say: 'Stop! What's this really about?' All you hear about is self­ actualization; a dreadful egoism, which knows no humility, prevails. People talk incessantly about individuality, but meanwhile the pressure on the individual is so great that he falls apart. For me, theater is the last public place which dares to conduct a live, unadulterated discourse on such questions. On the suffering in the world. On the true state of man. His vulnerability, His helpless­ ness. If we're able to give a Schiller, a Lessing or a Goethe back the emotional impact they had in their day, then there's room for painful, sharp debates. These writers wrote their plays on the verge of a scream, out of rage, out of the will to have an effect on their era. And so today it must also be about rage, about breaking boundaries, about the scream. Art can bring about another conscious­ ness for depressing conditions. That is theater's greatest endeavor. II -Michael Thalheimer, Director Deutsches Theater Berlin Artistic Director Bernd Wilms Artistic Board Bernd Wilms, Michael Thalheimer, Oliver Reese, Michael de Vivie Managing Director Klaus Steppat Schumannstr. 13a, 10117 Berlin, Germany www.deutschestheater.de About the production written in 1772, into a timeless modern story about the failure of communication. Everything The Deutsches Theater's Emilia GaIotti, first that's said in this production is ambiguous: pledg­ staged in 2001, is one of the most successful es of love, vows of revenge and proclamations of productions in recent German theater; it's sold out faithfulness and virtue. Only the actions speak over a hundred times at the Deutsches Theater an unequivocal language: the mute dialogue of (DT) in Berlin and has been hailed by audiences hopelessness. in various German cities and on tours abroad, in cities such as Belgrade (Serbia), Rome, Mexico Prince Hettore Gonzaga doesn't care about any­ City, Bolzano (Italy), and Bogota (Colombia) and thing-except Emilia Gaiotti, the daughter of a pi­ will, after New York City, be shown in Moscow, ous middle-class army officer. His desire changes Tokyo, and Winterthur (Switzerland) this season. everything in the life of the sensible, God-fearing Set with stunning light and sound effects on a girl. As the play commences it's ten o'clock in bare stage, director Michael Thalheimer trans­ the morning-three days after the two have met forms Gotthold Ephraim Lessing's classic drama, fatefully in the church. The Prince learns that Emilia GaJnttjL.....---- _ Emilia is to become another man's wife in two modernized Virginia, who is freed from all interest hour's time, in a bond not founded on political of the state." or economic strategies, but purely on love. Panic rushes in. From now on, miscalculations and Whereas some understand the drama as directly ill-judged actions determine the course of events. discussing the struggles and contrasts between The Prince wants to postpone Emilia's wedding, different classes-aristocracy and bourgeoisie, but he misjudges the brutal way his friend Mari­ or the people and the leadership-others feel nelli will go about that business. He underesti­ that what makes Emilia Gaiotti without a doubt mates the reactions of Emilia and her parents; her a political drama is something different. Lessing father, in particular, is a man with strong codes of focuses on exploring the tendencies of people honor watching sharply over his daughter. Finally, to withdraw to privacy, where sh ielded from the Gonzaga's long-time mistress, the Countess Or­ political public, they tend to moral-religious max­ sina, won't be pushed aside so easily... Marinelli ims-which, lacking enlightenment, leads to a has Emilia's groom, the Count Appiani, murdered dependency that allows aristocracy and leadership and abducts the bride to a nearby castle. Still, to surpress them. the Prince is unable to enjoy his conquest. By the ti me the wedd ing day-whose "morning was so Michael Thalheimer's production explores this beautiful"-draws to a close, it's all over. gulf between words and deeds: the contradiction between the rapid-fire language, which comes fast For Emilia Gaiotti, Lessing has taken up a motif and furious in an attempt to avert the incompre­ by Roman historian Titus Livius. Ab urbe condita hensible new situation, and the actions which are ("of the origin of the city") /II tells the tale of born of helplessness. Everything that's said aloud Roman girl Virginia, killed by her father because is merely provisional. Now and then, when the he feels it is the only way to protect her from the characters themselves become aware of this, their Decemvir Appius Claudius. This causes a national rapid flow of words comes to an astonishing halt uprising-Appius Claudius has to step down and for minutes at a time, until the whirl of actions is th rown into prison, where he ki lis himself. It is and reactions pulls them ever closer to catastro­ hardly a coincidence that in Emilia Gaiotti, Lessing phe. With the tried and tested radicalism already takes a divergent approach in deciding to choose witnessed in his productions of Molnar's Li/iom a less direct political placement of the story, and and Arthur Schnitzler's Light 0' Love, the director refrains from making the actions of Odoardo cause works his way to the very heart of Lessing's play, some form of national outrage. In a letter to his which is among the darkest in all of German brother Karl on March 1st, 1772, Lessing writes, literature. "You understa nd, it shou ld be nothing but a Who's Wh~o _ The Author find the truth that interested him. Lessing viewed the inconsistencies and errors which inevitably Gotthold Ephraim Lessing (1729-1781) arise from human fallibility as excusable. Yet he The worth of a man does not consist in the truth condemned stubborn adherence to dogmatic he possesses, or thinks he possesses, but in the positions-whether on religious, political, literary, pains he has taken to attain that truth. For his or scientific issues; Lessing advocated flexibility powers are extended not through possession of thought. Along with combating prejudice and but through the search for truth. In this alone standing up for human reason, Lessing fought for his ever-growing perfection consists. Possession tolerance: understanding for dissenters and accep­ makes him lazy, indolent, and proud. tance that others also genuinely seek the truth. -Lessing, 1777 The German writer and philosopher Gotthold This is the way Lessing expressed his views about Ephraim Lessing was born in Kamenz, a small truth-yet he never considered himself to be an town in Saxony, on January 22, 1729; he died arbiter of what is true. Rather it was the striving to in Brunswick (Braunschweig) on February 15, Who's Wb o _ 1781. Both a playwright and a critic, Lessing was Lessing felt that spectators should identify with one of the leading figures of the Enlightenment in the characters and experience that similar things German literature. could happen to them; the fate of the protagonists should arouse their empathy and-through this The son of a minister, Lessing first studied theo­ dramatic experience-the passions played out on logy and philosophy, and later medicine in Leipzig stage should be transformed into "virtue" in the and Wittenberg. Between 1748 and 1755 he soul of each individual. lived in Berlin, where he was co-editor of several newspapers. After completing his medical degree As a result of Lessing's theological criticism, the in 1752, Lessing made a name for himself as a Duke of Brunswick-Wolfenbuettel officially forbid theater and literature critic.
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