Nicola Kirsch

The director Elsa-Sophie Jach, who recently made her debut at the Residenztheater with her production of Herbert Achternbusch’s «Heart of Glass», brings the outrageous love poetry of «Europe’s first poet» to new life. Known for a directing style characterised by precise language and strong visuals, she hunts down the forgotten remains of Sappho’s poems, condenses them into a chorus and, on a tour through the literary canon together with the Munich techno live band SLATEC, she exposes the systematic erasure of the female voice, its silencing and the need for it to empower itself.

«And often the outward signs of ascent only become apparent once the decline has begun again.» In his 1901 novel, subtitled «The Decline of a Family», Thomas Mann uses precise characterisation and an ironic style to describe the incipient structural collapse of the grande bourgeoisie. Mann drew his inspiration for «Buddenbrooks» from the story of his own family in Lübeck and people of the city where he was living at the time: Munich. Mann shows the potential complexity of relations between North and South Germany with considerable humour in the relationship between Tony Buddenbrook and the Munich hop-trader Alois Permaneder.

When Goethe set «Götz von Berlichingen» down on paper in 1771 in a true writing frenzy, the 22-year-old writer was still a complete unknown. This came to an abrupt end with the publication of «Götz», as suddenly the young poet was being talked about everywhere. Goethe’s early work is a powerful stage epic with over fifty locations, several plots running in parallel and a huge cast of characters. What is more: Goethe dispensed with all the customary conventions that 18^th century drama had been using up to that point.

Following Ibsen’s Peer Gynt, in the second half of the season another we hear from another master storyteller. A narrator who tells us to call him Ismael walks onto the Residenztheater stage in seaman’s garb. What follows is a genuine monster of a story: Ismael is hired on the «Pequod», an old whaling ship, and goes to sea on board this floating blubber factory.

After many years, Gregers returns to his home country. His father, a successful entrepreneur, offers him the opportunity to join the company management, from which he has to retire for health reasons. Gregers refuses and at the same time learns that his father is secretly financially supporting the family of his old friend Hjalmar Ekdal, who lives in the most modest of circumstances, and becomes suspicious. Why is the capitalist suddenly showing himself to be a philanthropist? In his tragedy, Henrik Ibsen shows how the capitalist system has a direct impact on the private sphere and undermines social cohesion. The Norwegian Johannes Holmen Dahl, one of the most sought-after directors in Scandinavia, is now staging his German debut with a major work by his famous compatriot.