Theatre
Die Nacht kurz vor den Wäldern
A man turns the corner, intent on approaching someone. In search of a conversation, a room for the night, or perhaps love, he wanders through the nocturnal suburbs, hoping that around the next corner he will find not only rain but a stranger—us. He, who has neither work nor a home anymore, speaks in order to achieve a shared sense of lightness, like a bird in the forest fleeing from machine-gun fire.
The immersive monologue “Die Nacht kurz vor den Wäldern”, first performed in Avignon in 1977, made the French author Bernard-Marie Koltès (1948–1989) a rising star of the New European Dramaturgy. Like Arthur Rimbaud, Jean Genet, or Sarah Kane, his texts probe the lives of society’s marginalized figures to the point of dissolution. Composed as a single continuous sentence, the text takes us on a breathless journey into the nocturnal world of an outcast.
Director Susanne Frieling, working for the second time with the Vereinigte Bühnen Bozen after “Monte Rosa”, examines the fragility of the body in both urban and natural spaces. She extends the view beyond the doors of the city theater, where the night just before the woods has already fallen. With an experimental approach, the solo explores the boundary between life and theater, audience and actor, Bolzano and elsewhere.
The immersive monologue “Die Nacht kurz vor den Wäldern”, first performed in Avignon in 1977, made the French author Bernard-Marie Koltès (1948–1989) a rising star of the New European Dramaturgy. Like Arthur Rimbaud, Jean Genet, or Sarah Kane, his texts probe the lives of society’s marginalized figures to the point of dissolution. Composed as a single continuous sentence, the text takes us on a breathless journey into the nocturnal world of an outcast.
Director Susanne Frieling, working for the second time with the Vereinigte Bühnen Bozen after “Monte Rosa”, examines the fragility of the body in both urban and natural spaces. She extends the view beyond the doors of the city theater, where the night just before the woods has already fallen. With an experimental approach, the solo explores the boundary between life and theater, audience and actor, Bolzano and elsewhere.
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