Unlike the movie, the commandments are introduced out of order, steadily prompting the viewer to seek the advice of the playbill to determine the place we're within the cycle. Like the movie, alternatively, “Die Zehn Gebote” steadily leaves the viewer to meditate on the connection between the kitchen-sink realism of the person stories and the biblical injunctions to which they're joined, alternatively obliquely.
“Die Zehn Gebote” is a real ensemble piece and the actors are excitingly matched. Lukas Holzhausen is each delicate and weary as a unmarried father or mother whose teenage daughter suspects he isn't her organic father. Anja Herden will get to survey a large dramatic vary, from a matriarch who should plead for her grandchild’s go back to the cynical, promiscuous neighbor in essentially the most well-known episode of “The Decalogue.” As each a attorney in opposition to capital punishment and a dedicated physician who's pressured to play God, Gabor Biedermann demonstrates how a practiced, skilled demeanor cracks up within the face of ethical uncertainty and outrage.
One of Kieslowski’s maximum admired characteristics as a filmmaker used to be his skill to translate his philosophical and dramatic concepts into stark pictures. In hanging “The Decalogue” on degree, one has to seek out equivalents for visible storytelling. Mr. Kimmig, a prolific German director, resists the urge to make use of video, concentrating all the drama within the uncooked performances of the actors. Instead, he reveals cinematic texture by means of fidgeting with narrative construction.
Kieslowski’s movie is focused on a big social housing venture. Over the lengthy process the sequence, there are lots of probability encounters: We acquire new views on tales now we have already noticed. In Mr. Kimmig’s model, the characters from more than a few episodes interfere on every different. Sometimes they sit down downstage and spectate. At others, they interrupt to introduce a brand new story. Each phase builds to a second of moral disaster, and so those narrative breaks, which turn out to be more and more frenzied after the intermission, reach maintaining pressure over the process the entire efficiency. After the emotionally frantic, “Short Cuts”-like crisscrossing of the overall 30 minutes, the vigorous curtain name, with its a large number of gown adjustments (to remind the target market who performed whom) felt cathartic in itself.
The moral conundrums of a development filled with Poles would more than likely appear to be small fry to these of the House of Atreus, whose well-known circle of relatives curse is being revisited subsequent door within the Burgtheater’s tough all-female manufacturing of “Die Orestie” (“The Oresteia”). Using a much-whittled-down model of Peter Stein’s German prose translation (that model ran to 9 and a part hours all through its unique performances on the Berlin Schaubühne in 1980), Antú Romero Nunes has introduced his stripped-down, savage aesthetic to Aeschylus’ tragic trilogy. Over 140 intermission-less mins, seven of the Burgtheater’s tough actresses become the extensive degree of Vienna’s maximum chic dramatic theater right into a claustrophobic drive cooker.
The staging by means of Mr. Nunes, a tender and in-demand German director (subsequent month, he's going to direct the Bavarian State Opera’s premiere of Verdi’s “Les Vêpres Siciliennes”), means that the tale is being advised from the perspective of the Furies, the goddesses who mete out divine justice within the pre-legal global of Greek fable. The trilogy’s ultimate bankruptcy, “The Eumenides,” can, in reality, be learn as a parable for the status quo of the Athenian judicial machine.
By assigning the entire roles to a handful of actors, Mr. Nunes additionally highlights how the cycle of familial violence impacts everybody — protagonists, refrain, gods and Furies. For the spectator as neatly, it's inconceivable to stay impartial or detached to the vicissitudes of this 2,500-year-old tragedy.
With dirty white clothes, black boots and ratty blonde locks, their faces caked in white paint, the actresses seem like a refrain of the undead. Save for the ambient track, the occasional fog and the black blood that comes streaming downstage at one level, those ladies are themselves the manufacturing, from Andrea Wenzl’s pained, defenseless Cassandra to Aenne Schwarz’s violent and conflicted Orestes. (Ms. Schwarz could also be sensational within the Burgtheater’s “Antigone,” which makes a very good spouse piece for this “Oresteia.”)
Maria Happel and Barbara Petritsch are boldly solid as Agamemnon, who sacrifices his daughter to protected favorable winds for the Greek fleet crusing to Troy, and Aegisthus, who plots the king’s downfall. Two longtime individuals of the Burgtheater’s ensemble, they greater than hang their very own in opposition to the manufacturing’s more youthful actresses, matching them in dramatic or even bodily depth.
Perhaps absolute best of all is Caroline Peters’s nuanced Clytemnestra. Her efficiency is shot via with pleasure, grief and crafty, by no means extra so than in her unsettlingly delicate scene with Orestes, the long-exiled son who has returned to homicide her. That love, struggling, concern and the will for revenge can coexist within one breast is one thing that perceptive artists of refined ethical creativeness have all the time been ready to understand.