“Tasso!” After Goethe confronted with environmental activists.
What Fischer makes of “Torquato Tasso” is agitational theater, exciting, if not to say cunning and beautifully packaged, but with a very superficial intention even for a project aimed at a young audience. In an interview with the UN, the director remarked that Goethe uses poetic images of nature to illustrate emotions in his text, which gives her the opportunity to focus on nature and environmental protection. And so Antonio, the political functionary, does not come from Rome, but from Brussels, where the car-free city center has established itself as a sustainable concept. The unconditional basic income creeps in. That it should also be given to those working in culture is derived from the fact that Goethe is negotiating the freedom of art here (“In acting the world restricts us enough….”), Knows the barriers of morality, but knows the dependence on sponsors, then nobles, not escapes. What Goethe wrote about ten years ago, which moved humanities scholars en masse to secondary literature, cannot be reduced to a simple denominator, and so pupils are lured with what many of them are worried about: “I want a world in which all people have access to have vital resources. I want a world in which only what we really need is produced, ”says Leonore at the end. “Who will we be tomorrow?” Is the last sentence.
This is roughly how it is currently standing on the side facade of the Bregenz Theater on Kornmarkt. Inside, a work had its premiere at the weekend, the story of which was already taking a special course. Because if you had to choose between the stage production and the video that the theater produced after the stage start of “Tasso!” Was postponed for the second time due to the corona lockdown, I would also be a skeptic of everything streamed here about the digital format give preference. The session that Leo (a figure in which Duke Alfons and Princess Leonore unite, while the second Leonore is eliminated from the Goethe work) convenes here to negotiate the improvement of the world with Antonio (here Toni) and Tasso – that has something. This is how the concept can work.
On the stage, not only the framework fades, but also the conflict between the pragmatist Antonio and the thinker Tasso, for whom the dream of a better world will then guide the corresponding action. One objection is justified, however. The above-mentioned session will be denser on the box for which “Tasso!” Was designed and in which Birgit Klötzer’s equipment could also come into play than in a house with 500 visitors, in which the 100 now admitted tend to lose themselves. In any case, they are only hesitant to be asked to join the aforementioned session or to participate in the activist group, and that Toni like Tasso also hang out the defiant adolescents at times does not seem ambiguous from a distance. Vivienne Causemann asserts herself confidently as the discussion leader for Leo and lets the sensitive Leonore from the Goethe drama shine through. But David Kopp (Toni) and Tobias Krüger (Tasso) are also eager to watch, because, in addition to the activist behavior, they are able to convey their own vulnerability and the quiet struggle with frustration tolerance.
Playwright versus Playwright
It takes very good actors to add complexity to this rather one-dimensional adaptation of Goethe by Milena Fischer. The Vorarlberger Landestheater has it. It is not conservatism when the question arises of the space that a theater company gives the dramaturge in comparison to the writer. It would be entirely possible to write your own piece in which motifs from Goethe’s “Tasso” appear. But that requires playwrights.
Next performance of “Tasso!” By the Vorarlberger Landestheater on April 4, 5 pm, at the Bregenz Kornmarkt.