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Der Aufhaltsame Aufstieg Des Arturo Ui DER AUFHALTSAME AUFSTIEG DES ARTURO UI bertolt brecht heiner müller berliner ensemble 2 3 INFO CREDITS WENN DER ANSTREICHER DURCH DIE LAUTSPRECHER ÜBER DEN FRIEDEN REDET data / dates regie / direction vr 21, za 22 juni 2013 Heiner Müller Fri 21, Sat 22 June 2013 toneelbeeld, kostuums / set design, Schauen die Straßenarbeiter auf die Autostraßen locatie / venue costumes Und sehen Stadsschouwburg Amsterdam, Grote Zaal Hans Joachim Schlieker Knietiefen Beton, bestimmt für aanvang / starting time coregie / co-direction Schwere Tanks. 20.30 u Stephan Suschke 8.30 pm met / with Der Anstreicher redet vom Frieden. duur / running time Martin Wuttke (Arturo Ui) Aufrichtend die schmerzenden Rücken 3 uur, inclusief een pauze Martin Schneider (Roma) Die großen Hände auf Kanonenrohren 3 hours, including one interval Volker Spengler (Giri) Hören die Gießer ihm zu. taal / language Victor Deiß (Givola) Duits met Nederlandse boventiteling Stefan Lisewski (Dogsborough) Die Bombenflieger drossein die Motore German with Dutch surtitles Jürgen Holtz (Schauspieler) Und hören inleiding / introduction Margarita Broich (Dockdaisy, Mrs. Dullfeet) Den Anstreicher vom Frieden reden. door by Loek Zonneveld Roman Kaminski (Dullfeet) 19.45 u Axel Werner (Sheet, Ragg/Reporter, Die Baumfäller stehen horchend in den stillen Wäldern 7.45 pm Goodwill) Die Bauern lassen die Pflüge stehn und halten die Hand hinters Ohr meet the artist Veit Schubert (Clark) Die Frauen bleiben stehn, die das Essen aufs Feld schleppen: met with Martin Wuttke Michael Rothmann (Butcher) Auf dem ungebrochenen Acker steht ein Wagen mit Schalftrichtern. za 22 juni, na afloop van de voorstelling Uli Pleßmann (Flake, Ansager) Von dort Sat 22 June, after the performance Thomas Wendrich (Bowl, Inna) Hört man den Anstreicher Frieden fordern. moderator Nathalie Wevers Stephan Schäfer (O’Casey, Balkonredner) website Jörg Thieme (Gaffles) Bertolt Brecht www.berliner-ensemble.de Heinrich Buttchereit (Händler) Michael Kinkel (Händler) Stefan Suschke (Händler) Uwe Preuß (Dogsborough jun., Leibwächter) Claudia Burckhardt (Blutige Frau) Detlef Lutz (Leibwächter) Larissa Fuchs (Mabel Sheet) productie / production Berliner Ensemble wereldpremière / world premiere Berlijn, 3.6.1995 4 5 HEINER MÜLLERS Erlkönig (muziek: Franz Schubert) zingen. stuk grond ingeboekt als ‘Berlin nw 7’, nr. 1938 en 1945 openlijk tegen de jodenvervol- ZWANEZANG ALS REGISSEUR Over het speelvlak kronkelt een jonge man, 177/41921, Theater am Schiffbauerdamm, ging door de nazi’s uit te spreken. Hochhuth bloot bovenlijf, punky haarlok. Zijn rood tegenwoordig: Bertolt Brecht Platz 1. In vindt dat dit stuk (en andere teksten van zijn geverfde tong hangt dreigend uit de mond. 1928 vond er de geruchtmakende première hand), opnieuw moeten worden gespeeld. In het oude Brechttheater aan de Hij hijgt, hij likt, hij schreeuwt. ‘Wauwau’. Op plaats van Brecht/Weills Dreigroschenoper, de Hij streeft al jaren naar een ‘actueel docu- Berlijnse Schiffbauerdamm is auteur/ Dieskau’s smachtend gezongen slotregel ‘Das muziektheaterhit van de Weimarrepubliek, mentair Duits auteurstheater’. Eenderde van regisseur Heiner Müller heer en meester. Kind war tot’ volgt een dreigend blaffen. Ui/ met rookbommen verstoord door de natio- de inkomsten van de Ilse-Holzapfel-Stiftung Zijn regie van Brechts ‘Arturo Ui’ was Hitler als retenkruiper en kontenlikker van de naal socialisten. Het door bombardementen is bestemd voor het ‘onderhouden van de een groot publiekssucces. Maar na de heersende macht. De verleidelijke straathond gedeeltelijk verwoeste operettetheater werd graven van uit Berlijn verdreven joden’. geruchten over Müllers Stasicontacten, die hogerop wil. Hier geen Brechtproloog, met in 1953 de thuisbasis van Bertolt Brechts Klaus Wertheim heeft (voor vermoedelijk vallen er nu ándere lijken uit de Duitse een parade van de bruinzwarte vaudevilleka- Berliner Ensemble, de theatrale etalage van een miljoen dm) zijn aanspraken op het ‘Wiedervereinigungs’-kast over hem rakters Giri (Göring), Givola (Goebbels) en de kersverse ddr, die de grond en het geres- Theater am Schiffbauerdamm aan de stich- heen. Een verslag over de dreigende an- Roma (Röhm). We hóren de verlichte kant van taureerde toneelhuis simpelweg confiskeerde. ting van Rolf Hochhuth verkocht (en is als nexatie van het Berliner Ensemble. de Duitse cultuur (Goethe/Schubert), we zién Huur werd er nooit betaald. De vroegere erevoorzitter het bestuur binnengehaald). En En over Heiner Müllers grote Hitler- de contouren van de schaduwzijde: het vuil- eigenaars waren immers vergeten. Maar na de gezamenlijke erfgenamen Saloschin (de Opera. nisbakkenras dat spoedig zijn weerstaanbare de vereniging van de beide Duitslanden (in joodse familie die het perceel indertijd aan opkomst zal beginnen. 1990) dook één van die eigenaars weer op: Wertheim heeft verkocht) hebben hún aan- Berlijn 1995 – Twintig jaar achtereen stond Klaus Wertheim, familie van het beroemde spraken op het perceel ‘Berlin nw 7’ kosten- Bertolt Brechts, tijdens diens Finse bal- * * * Berlijnse warenhuisconcern van dezelfde loos bij Hochhuths stichting ondergebracht lingschap in 1941 woedend opgeschreven naam (‘de Bijenkorf’ van Berlijn). Hij beken- (er gaan overigens geruchten dat daarmee Hitler-’operette’ De weerstaanbare opkomst Berlijn is anno 1995 één grote bouwput, één de het perceel ‘Berlin nw 7’ in 1938 – na de een betaling van 4,5 miljoen dm gemoeid van Arturo Ui op het repertoire van het Ber- open wond (de weerstaanbare poging van Reichskristallnacht – gekocht te hebben van is geweest). De erven Saloschin stelden één liner Ensemble. Een groteske kermis van Christo om het gebouw van de Reichstag in de joodse familie Saloschin. Zoiets heette immateriële voorwaarde: drie maal per jaar gemaskerde nazikarikaturen, regie Manfred te pakken daargelaten). Berlijn is anno 1995 toen ‘Arisierung’. Wertheim kocht de grond (op herdenkingsdagen) moet Hochhuths Wekwerth (lid van het centraal comité van meer dan ooit ‘het skelet dat pijn doet in de en het gebouw indertijd voor de helft van de stuk Der Stellvertreter op het repertoire van de ddr-eenheidspartij sed) en van Peter kou’, zoals Armando de stad ooit omschreef. waarde. Vervolgens emigreerde hij naar New het Theater am Schiffbauerdamm staan. De Palitzsch. De titelrol van de gangster Arturo Menig bewoner in het nieuwe ‘Stadtmitte’ York. In de jaren vijftig kwam het stuk grond inkomsten van deze drie voorstellingen gaan Ui werd gespeeld door Brechts schoonzoon (Kreuzberg – voormalig West en Prenzlauer en het gebouw onder ‘staatliche Zwangsver- naar joodse weeskinderen. Ekkehard Schall. Van 1959 (Brecht heeft Berg – voormalig Oost), krijgt regelmatig waltung’, en in 1955 werd het definitief ver- het stuk op Duitse grond nimmer mogen de schrik van zijn of haar leven, van dossiers huurd aan het Ministerie van Cultuur, ‘zur Rolf Hochhuth heeft zich nu gemeld als zien, hij stierf in 1956) tot 1980. In 1983 nog uit heel oude kasten. Eigenaars van vóór Aufführung von Bühnenwerken’. officieel eigenaar van het Theater am vertoond op het tweede Duitse televisienet, 1961 (‘Mauerbau’), vóór 1949 (ddr), vóór Schiffbauerdamm, en dus van het Berliner uitgezonden ter gelegenheid van de vijftigste 1945 (‘Kriegsende’), vóór 1938 (‘Reichskris- Tot zover is dit een tamelijk normaal Berlijns Ensemble. Of dat klopt is nog maar de herdenking van Hitlers machtsovername. tallnacht’) en van vóór 1933 (‘Machtsüber- verhaal. Maar anno 1995 betreedt opeens de vraag. Op ‘Grundstück Berlin nw 7’ staat nahme’) duiken her en der in de stad op, met ‘Stichting Ilse Holzapfel’ uit Stuttgart het wel het theater, maar staan niet de ateliers, Begin juni 1995 duurt het tien volle minuten, claims die heel plausibel klinken. Wettige podium. Initiatiefnemer: Rolf Hochhuth. administratiegebouwen en de kleine zaal vóór we in de nieuwe enscenering van Arturo erfgenamen zijn het, kinderen van uitge- Voorzitter: Rolf Hochhuth. Doel: versprei- (‘Probebühne’) van het Berliner Ensemble. Ui (regie: Heiner Müller) de eerste Brecht- moorde joden, kindskinderen van ballingen. ding van het werk van Rolf Hochhuth, de Verder kan Hochhuth wel het theaterge- teksten horen. Als het doek opgaat begint op Hun plaats in het Grundbuch (kadaster) is Duitse toneelschrijver die in 1963 wereld- bouw claimen, maar daarmee heeft hij nog het kale speelvlak van het Berliner Ensemble juridisch vaak omstreden en bezorgt veel faam verwierf met zijn toneelstuk Der geen theaterpraktijk. Daarvoor stort de de propellor van een turbine driftig te draai- advocaten een hoop werk. Ook aan het the- Stellvertreter (De Plaatsbekleder), waarin een gemeente Berlijn jaarlijks 26,6 miljoen dm en. Boven het industriële lawaai uit horen we ater gaat deze uiterst verwarrende toestand rechtstreekse aanval werd gedaan op Paus op de rekening van het ensemble (200 vaste Dietrich Fischer-Dieskau Goethe’s niet voorbij. In het Berlijnse kadaster is het Pius x11 en diens weigering om zich tussen medewerkenden). Hochhuth put zich uit in 6 7 geruststellingen in de richting van de be- produktieve periode uit de geschiedenis van een gangsteroorlog in Amerika (inzet: de En over het agressieve potentieel onder de werknemers. Ze mogen er tot in lengte van het Europese drama was het theater van de handel in bloemkool, het kan niet lulliger) Duitsers: ‘Duitsland is altijd overal te laat jaren blijven zitten, en Heiner Müller moet Elisabethaanse renaissance. De belangrijkste dient als metafoor voor de opkomst van de gekomen, vooral bij de opdeling van de we- natuurlijk artistiek directeur blijven.
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