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For the self-proclaimed state actor Bruscon, theater is life. With his troupe - consisting, for personal reasons, of his own wife and children - he tours the provinces to convince even the last corner of this forgotten world: theater is everything, everything is theater. But everywhere there is hostility to art. The "boards that mean the world" are rotten, the children untalented, the women hysterical and hypochondriacal, the air too humid.

Berliner Ensemble Außenansicht
Berliner Ensemble Außenansicht © Monika Ritterhaus

The world resists art - against Bruscon's supposed masterpiece "The Wheel of History," the name of his play, in particular. Thomas Bernhard's search for meaning and hope in a world devoid of meaning and hope is both a declaration of love for and a swan song to the theater, describing both society's prevention of the individual and the tyranny of the individual obsessed with meaning. The theater maker hates the world and struggles for the theater - or the other way around?

Director Oliver Reese, with Stefanie Reinsperger as the theater-maker, brings Bernhard's parable about art in a world hostile to art to the stage of the Berliner Ensemble.
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Berliner Ensemble: Großes Haus