With her new production for the Berliner Ensemble, director Andrea Breth invents an atmospheric play modeled on the absurd logic of dreams: small scenes, partly musical, partly poetic, threatening and full of bizarre, absurd riddles, spaces of fear and memory of a non-realistic kind.
An inexplicable artistic pause in an excessively noisy world, open to the beautiful, the tender and the common, which could be possible.
Andrea Breth is one of the most outstanding theater and opera directors of her generation. She is a planet of her own, where poetry and imagination create strange images, atmospheres, stories and characters. After Three Times Life by Yasmina Reza, Breth is now directing again at the Berliner Ensemble.
Shortly after the first Lockdown, the idea was born to invent a musical theater evening about the comically absurd sides of life. What has changed since then, Ms. Breth?
People's fears are increasing every day, triggered by the war in Ukraine, the high costs and a completely uncertain future. It was no longer possible for me to counter this with a comedy. The increasing melancholy that creeps over me more and more every day has led me to turn to the darker sides of existence. Small scenes will emerge, partly musical, partly poetic, threatening and full of mystery; spaces of fear and memory of a non-realistic kind.
What do you dream?
Dreams reflect more feelings and jump from there to there without further explanation. I am increasingly interested in this form. We can't explain the world, nor can we send messages, and people seem to be happily tinkering with their demise. I will be careful not to publish my dreams in concrete terms. The stage allows me to be artistic about it.
And what do you find comfort in?
In silence in the excessively noisy world. Poetry.