“Sankt Falstaff” inspires in the Residenztheater

How does the view of the political theater change in times when “dramatically” has become the most used description word of reality? A possible answer to this can be found in Alexander Eisenach’s production by Ewald Palmetshofer’s “Sankt Falstaff” at the Munich Residenztheater: What you might have approved a few years ago as a baroque excess aesthetics in the calming security distance of the fiction is in a presence in politics as an over-top vulgar competition in real time before a world audience Naturalistic representation of the conditions. “The hand that reaches into the Sch …” in the center of the very freely on Shakespeare “Henry IV.

” Oriented piece is the authoritarian “quasi-king” Heinz, who has torn power in the now repressive state, but is sick with death (wonderfully understood in his falling due to: Steffen Höld). A successor has to be found, but the personnel tableau is manageable: The provincial assistant Hitzkopf (a nature violence on stage: Niklas Mitteregger), who despises the quasi-king, was recommended for higher things-or as it says in the hand that is typical for the piece: ” In the province and hopes it will now – quasi – prince ”. Klug used video technology: Lukas Rüppel, Johannes Nussbaumsandra Thenfast out of nowhere, however, the heat head of the physical but far from the home -up king’s son Harri, whom Johannes Nussbaum captivates in all conditions of his fluctuating between fragility and downright. It would not have occurred to the heirs to the throne if the piece of John Falstaff would not have saved his life in the Pissrinne of a dim Club-Klos, the title character of John Falstaff. It is precisely on this abortion that the power struggle later decides: after a rousing verse battle that loosely puts the entire German-language gangsta rap of the present in his pocket, Harri stabs his opponent. In between, the piece unfolds a dystopian, but in view of the political presence, who is depressed by the political language with its brutalization of the political language and the east-tative blindness of its villain. The rotary stage (Daniel Wollenzin) constantly changes between the two spheres of the ruling center and club cellar with a clever integration of a huge video screen, over which the shots of the ubiquitous eye of the power flicker, which does not escape with its drones and surveillance cameras. Give a monotonous chamber game, but that is exactly what Palmetshofer is not targeting: “Sankt Falstaff” is a firework of speech and body excesses, the mouth of the figures as loosely as the often happily-free, extended. The fact that with so many intrigue, scene changes and double -occupied roles, the composition of the different strands over the more than three hours of play is also thanks to the special rhythm of the staging of Alexander Eisenach: the rapid sequence of the plot and the maze of many dialogues are opposed Speaking of Falstaff about the dignity of the (show) player, in which the holiness marked in the interpeit title of the figure, finds its contour: John, who plays sharply, has a heart as big as his mouth and is therefore the only one with real emotional capacity in a pack of either affect stones or vulgar hedonistic figures. He also stands out in this way because the world of the rulers no longer has any Katharsis potential: the auto- are no longer aristocrats, on the contrary, the only dignity is the false, but precisely so human false. (Costumes: Claudia Irro) of the son, who, in her ugliness, does not accidentally remind you of the Golden Curtains in the office of the best-known trash potential of the present. But this triumph also lasts only briefly, since the dissolved John strangled the royal sprout he loved a little later, before he also left his life. Mug of political theses of the piece are certainly discussed: whether one has to give the autocrats of the present as a particularly strategic nobility in the form of their supposedly planned meta -policy Placative gender criticism of the autocratic masculinity background requires that the end of the play also raises questions: If after three hours of frontal dystopia, nihilism and future pessimism in the epilogue of the play, reports of the resistance of the hundreds of thousands are suddenly stare, which suddenly stare into the surveillance cameras of the regime, it sounds a bit too hope Ex Machina. Palmetshofer’s masterpiece does not even have such forms of edification: the piece delivers a rousing ride through the political abysses of the present, which with speech power, play of play and with his, one cannot say otherwise, truthfulness in reflection on people and art in dark times.

Credit-Read More

// Function to fetch the latest posts
function fetchLatestPosts() {
const feedUrl = ‘https://newskiosk.pro/feed/’; // Replace with your blog’s RSS feed URL
fetch(feedUrl)
.then(response => response.text())
.then(str => new window.DOMParser().parseFromString(str, “text/xml”))
.then(data => {
const items = Array.from(data.querySelectorAll(“item”));
const latestPostsContainer = document.getElementById(“latest-posts”);
latestPostsContainer.innerHTML = ”; // Clear previous posts

// Shuffle the items array
const shuffledItems = items.sort(() => Math.random() – 0.5);

// Select the first 5 items from the shuffled array
const selectedItems = shuffledItems.slice(0, 5);

// Loop through the selected items and display them
selectedItems.forEach(post => {
const link = post.querySelector(“link”).textContent;
const description = post.querySelector(“description”).textContent;

// Create a new post element
const postElement = document.createElement(“div”);
postElement.classList.add(“latest-post”);
postElement.innerHTML = `

${description} Read more

`;

// Append the new post element to the container
latestPostsContainer.appendChild(postElement);
});
})
.catch(error => console.error(‘Error fetching the latest posts:’, error));
}

// Call the function to fetch and display the latest posts
fetchLatestPosts();