von Robert Wilson und Rufus Wainwright
Zusammenstellung der Texte von Jutta Ferbers
Mit: Dejan Bućin (Gentleman/ Lady), Nadine Kiesewalter (Doppelbesetzung Boy), Angela Schmid (Shakespeare), Krista Birkner (Young Poet), Katharina Susewind (Boy), Winfried Peter Goos (Engel), Ursula Höpfner-Tabori (Black Lady), Christopher Nell (Lady/ Eve), Georgios Tsivanoglou (Cupid), Sabin Tambrea (Woman / Lady), Jürgen Holtz (Elisabeth I./ Elisabeth II.), Traute Hoess (Rival), Anna Graenzer (Boy), Angela Winkler (Fool), Anke Engelsmann (Secretary), Georgette Dee (Georgette), Antonia Bill (Doppelbesetzung Fool)

Stefan Rager (Dirigent und Schlagzeug), Hans-Jörn Brandenburg (Piano), Dominic Bouffard (Gitarre), Andreas Henze (Bass)
ISANG QUARTETT: Sangha Hwang (Erste Violine), Yewon Kim (Zweite Violine), Sara Kim (Viola), Yeo Hun Yun (Violoncello)

Regie, Bühne, Lichtkonzept: Robert Wilson
Musik: Rufus Wainwright
Kostüme: Jacques Reynaud
Mitarbeit Regie: Ann-Christin Rommen
Mitarbeit Bühne: Serge von Arx
Mitarbeit Kostüme: Yashi Tabassomi
Dramaturgie: Jutta Ferbers
Musikalische Leitung: Hans-Jörn Brandenburg, Stefan Rager
Licht: Andreas Fuchs

Übersetzt von Christa Schuenke und Martin Flörchinger

Dauer: 2 h 45 Minuten (mit Pause)

Georgios Tsivanoglou (Cupid), Jürgen Holtz (Elisabeth I.),
Ruth Glöss (Fool)
Fotos: Lesley Leslie-Spinks
Liebe - Haß, Sehnsucht - Überdruß, Leidenschaft - Langeweile, Männlichkeit - Weiblichkeit, Gesicht - Maske, Bewegung - Stillstand, Jugend - Alter, Leben - Tod... So unendlich viele Assoziationen zu Shakespeares SONETTEN. Die SONETTE werden nie an Geheimnis und Poesie verlieren.Robert Wilson, der zuletzt DIE DREIGROSCHENOPER im BE inszenierte, erweckt für seine Traumreise in den Kosmos Shakespeares 25 Sonette zum Leben. Er belebt sie mit Bildern und mit der betörenden Musik von Rufus Wainwright.

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Shakespeare`s Sonnets

by Robert Wilson and Rufus Wainwright
Selection and composition of the sonnets Jutta Ferbers

Staged at the Berliner Ensemble in 2009 – four hundred years after the publication of the sonnets – SHAKESPEARE`S SONNETS evokes the universe of the poet more modern and alive than ever before. Twenty-five of the one hundred and fifty-four sonnets by Shakespeare are performed on the stage, even though this is one of the English playwright’s works that was not originally written for theater. For the first time an outstanding and world-renowned director like Bob Wilson has taken the sonnets to create a major, fantastic "play"... a play with great actors, scene changes, light, music...

What does it mean: beauty? What does it mean: eternity? Wilson`s direction ironically challenges the idea of gender – with captivating lighting and darkness at the same time: The male characters are played by women and the female characters by men. Georgette Dee, the famous German cabaret performer, brings to life the Shakespearean interludes – accompanied by an "angel"… The Berliner Ensemble`s extraordinary actors including its young "stars" as well as its legendary actors play and sing. The Canadian songwriter Rufus Wainwright wrote the original music for them. Jacques Reynaud designed the costumes and the make-up.

Wilson brings several Shakespearean characters to life, from the leprechaun to the fool, from Cupid to the mysterious dark lady, from the Queen of England to Shakespeare himself.
The director`s ability to "tell" the story by means of images puts himself at the service of Shakespeare`s verse. The music of Rufus Wainwright, who for this "opera" has invented different musical styles, contributes to accompanying the audience on a dreamlike journey beyond time.
Shakespeare: light and dark – a stage première which is already a classic.

"Wilson has excellent actors at hand. The veteran stars of Berliner Ensemble present the real art of spoken theatre. Jürgen Holtz as ill-humoured Queen Elisabeth quite delightfully snorts sonnet 18 onto the stage, Traute Hoess use the Shakespearean entanglement of desire for amazing appearances. (…) It`s a soundtrack full of quotes, professional and felicitous. (…) The piece derives its effect from long noses and crazy hats, from circus jumps and slow rotations. It lives on the catchy melodies and the brilliant performance." DIE ZEIT