georg büchner 'lenz*'
with fabian hinrichs
production: laurent chétouane

photo: oliver fantitsch

wed. 17. may 2006 -- 7:30 pm
fri. 19. may 2006 -- 8:30 pm

'lenz*' is the french director laurent chétouane's second approach to georg büchner's prose piece lenz. the first version of the project with fabian hinrichs in the title role played to great success in june 2005 in the deutschen schauspielhaus in hamburg. the new version by the currently much talked about director is especially presented for the first time in berlin as part of the conference körperwellen. zur resonanz als modell. metapher und methode.

büchner's fragment, written shortly before his early death, tells of the schizophrenic sturm und drang poet lenz retreating to the reclusion of nature. there he finds but short respite from his obsessive thoughts and erratic voices. in transcribing the piece, the author seems to have adopted the concept of resonance which was emergent in the 19th century in the physiology, psychology and philosophy of perception. because he writes the protagonist as an open character, whose inner life appears like a finely interwoven network of loose sensation traces that is able to react to any influence from the living world. resonances within lenz's world of perceptions speak beyond that from the poetic logical principle of the constant repetition of thoughts, that shift mutually in oscillation. fabian hinrichs brings georg büchner's text to life on a coffin-strewn stage. he interrogates the theatre space after its own tonality. a many-voiced, often disturbingly rhythmical structure arises into which the madness of the lenz character infiltrates. the permeability and sensibility of hinrich's lenz turns the theatre into a vibrating vessel in which the historical discourses of perception resound as much as each silent thought that the individual spectator brings into the performance.

christian t. schön [hamburger taz, 11/06/05] wrote of the hamburg version:

'lenz is the most perfect and beautiful chétouane production in the playhouse. balanced like a mathematical formula for beauty he places the language, this original stylistic device of the theatre, at the centre of the production. and the calculation adds up. in fabian hinrichs he has found a dream partner [this was a collaboration they both wished for] who apportions the concentration of his spoken text uncompromisingly.'

the theatre theorist nikolaus müller-schöll gives his lecture about the production raisonner sur scène. derrida, forythe, chétouane as part of the conference on 20 may 2006 at 10 am.

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