Doctor, historian and writer Rainald Goetz etched himself into the memories of a whole generation of theatre and literature enthusiasts with one particular performance: At the 1983 Ingeborg-Bachmann-Competition, he cut his forehead with a razorblade, to give his manifesto Subito the necessary “Oomph”. Goetz’ text Krieg (War), published in 1986 and containing, according to his preliminary remarks, “three theatre plays”, is an equally strong “Oomph” and this is exactly how Robert Borgmann will stage it. In a stage space of his own design, he will create visually and acoustically exuberant images to illustrate each of the three individual plays Heiliger Krieg (Holy War), Schlachten (Battles) and Kolik (Colic). Describing a variety of hells, Krieg is a language sculpture and status description of the internal constitution of a then still divided Germany. From the global hell portrayed in the first part, it takes the audience into the domestic hell of a family in the second, and ends up inside the brain of a slowly dying man.
Open your eyes
“The actors alone are reason enough to visit the Berliner Ensemble currently. Artistic Director Oliver Reese has gathered an acting company that is among the best in the country.”
“As the evening progresses, the aesthetic devices which Robert Borgmann uses to shape the text’s radically tapering flow become increasingly succinct. Almost lovingly, he stays close to the text, and it is obvious that he was able to convince the sparkling cast of its value and significance.”
“The fact that in all its cumbersomeness, Krieg (War) is a text for the stage and not against it becomes apparent in Borgmann’s staging, featuring an acting company that may well be considered as unrivalled at the moment.”