The confrontation of two contradictory works of linguistic art - Samuel Beckett's perfect clockwork in "The Last Tape" and Peter Handke's post-dramatic echo of it - "Till the day do you part" - is a dialogue between two worlds.
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Lea Barletti
DAS LETZTE WORT
DAS LETZTE WORT
Virtuosity, world-denial and manic control meet joie de vivre, courage to make mistakes and passionate indignation. Character versus person, acting versus performance, perfection versus improvisation. Who has the last word?
Two texts that are far apart in everything are in dialogue with each other, albeit with a time delay: Krapp's ego in Beckett is dismantled by its female echo, the nameless woman he himself has conjured up in the course of his obsessive repetitions. What possibilities for changing perspectives does this woman open up for us, who, after listening to Krapp in the shadows, finally speaks? Is it really necessary for someone to have the last word? "In Arabic, >heart< and >change position< have the same root," she says.
Barletti/Waas have toured internationally with their intensive theater works on texts by Peter Handke; they often rely entirely on the spoken and thought word, on the power of reduction. Speaking is also central to the production THE LAST WORD.
While in the first part the audience sits in a black chamber close to the character of Krapp, reduced to the text and the stage directions, in the second part the playing area opens up into the expanse of the TD hall, into an expansive sound installation for live acting.
Additional information
We do apologize that the following information is currently only available in German.
Dates
October 2024
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