Wednesday , May 18 2022

In modern Faust, evil comes gradually



Cecilia Djurberg on Faust's myth that is reviving in drama

This is a cultural article which is part of Aftonbladet's opinion of public journalism.

Photo: Soren Wilson

Per Mattson and Therese Brunnander in "Faust" by Jens Ohlin and Hannes Meidal in Dramaten Elverket.

It was last year Jens Ohlin i Hannes Meidal success with a new written version hamlet at the Galeasen Theater in Stockholm. Now they have restored another famous classical myth of Faust, who sells his soul to the devil in exchange for knowledge and enjoyment.

Johan Volfgang von Goethe (1749-1832) wrote "Faust I" and "Faust II".

Faust's myth stems from the German 16th century and inspired a series of interpretations. They are among the most famous Johan Volfgang von Goethes magnum opus: dragons Faust I (1808) i Faust II (1832), which in turn was based on it Christopher Marloves play from the end of the 16th century.

Goethes Faust has long been regarded as a so-called drama, because it was considered a heavy game. Jens Ohlin and Hannes Meidal were "very free and compulsory" for Goethe when they wrote their new show. This was above all a myth of a person who included the alliance with the devil that attracted him.

When they play them Faust begins to die, but the devil lives, and also the question of responsibility for what Faust's genius did and was permitted.

"For a long time we have been surrounded by the idea of ​​how easy it is to deal with crimes or events that have already passed. And when you do, you by definition see it as good and do not see how they contribute to evil," says Jens Ohlin.

– Anyone who needs it and the environment himself, Hannes Meidal is swamped.

He mentions that the entrance was for them Thomas Manns novel Doctor Faustus which appeared in German 1947 and published in a new Swedish translation a few years ago. Here Mit Faust is set in the German historical context

"Thomas Mann connects Faust directly with his own, German and German culture of educational culture for Nazism," said Hannes Meidal, saying it was a relevant perspective, but considered it difficult to transfer his story directly to the theater.

From Mann however, they inspired Faust to make his music with his music, and his oath with the devil, which means that in return for his soul he gets 24 years as a musical genius. They also collected a discussion of what was the blindness for the offspring, which in Man is specifically related to the Holocaust, but what it means can be applied to all forms of hierarchical systems. For example, abuse of jobs.

The play has many layers and readings easily appear with associations of modern genitals.

In his "Faust", which premiered Dramaten Electricity yesterday, the main character is Faust's assistant Wagner, who is a woman and she plays Therese Brunnander. The action is set in an art house that is strongly characterized only by hierarchies, where endlessly and the will to be chosen and the need for approval are powerful driving forces. Wagner will now succeed Faust in his position of power.

The show has a lot Inventories and readings are easy for associations with modern genetic cultures. The House could be a Swedish Academy or a Drama, and the question of the horrible thing that happened in the basement "what is known" can be interpreted symbolically, since the Secrets of the Meta movement emerged in the light that caused whispers do not want to start firing.

However, this is not about a distinct, specific contemporary phenomenon, but the authors think of the Home as a symbolic, closed world. It can also be interpreted as a Freud's house, in which the basement is forgotten.

"It's kind of David Linch," says Hannes Meidal.

Photo: TT

Hannes Meidal and Jens Ohlin, current with "Faust" at Elverket in Stockholm.

He also had it Strindberg "Sonata of Ghosts" in the background, and let the character Zeitblom become a student as a Student in Strindberg wants to get into the context and take a community around genius. Jens Ohlin mentions the support of the genocide, to all who contribute to the celebration of a genius, which is particularly difficult to access with new policies and guidelines, Met and how problems in the cultural world take place so long.

"You may not know things when you continue to climb your career, it's a survival instinct," says Jens Ohlin, and also mentions the role of media and audiences who, in search of stars, contribute to the creation of a genetic genius.

Kriti izraz about the "kernel of poodles", as Gete Faust ejects when a dog appears as Mephisto – the devil itself – problematized. On Goethe, the alliance with the devil is a clear act, that is the crucial moment in which the right choice is. But so easily, these dramatists do not think that evil can always be recognized.

"Instead, the evil actions take place gradually, displacement is not always easy to see as it happens," says Hannes Meidal.

The devil interprets them not in a strictly religious sense, but is defined as the "inner Mephisto" – the inner devil and "something that must always be invented". The need is to invent evil, sickness and phenomena, and to put them on something that we are not, to get away from evil and to stand on the side of God.

– Sharply can point to evil in other places, the less your participation

"This old truth: without Mephisto without Faust, but evil, without goodness, we can not see ourselves as good without evil elsewhere," says Hannes Meidal.

"You need it as a benchmark, but you must be aware that this is to some degree a construction. Yes, we have to define ourselves against evil, but as soon as we are sure that we are not involved, that we ourselves have no evil in ourselves, but appear under good flags, we become blind to our actions, "says Jens Ohlin.

That's right This Meidal and Ohlin want to point out – we've all been, but we have not seen.

"What is even sharper, you can point out evil in other places, the less your participation," says Hannes Meidal.

The poodle is called Poodle, not Mephisto, and the core of the winged pudder is more difficult to grab than Gete's. As in Ohlins and Meidal's interpretation of "Hamlet", the focus changes, and it becomes unclear where sympathies end.

Here they perform a certain artistic risk, because the theater is grateful for the clear division of good and good, and the audience would want to find a hero with which it would somehow agree. Wagner is the one closest and honest with himself, they think for themselves, but she is not a classic hero.

"I think this is extremely difficult because the time is full of heroes and villains, so it's difficult with bad and bad stickers. When someone raises someone else for the good, for a hero or a genius, the structures can become still hidden and you'll be blinded even more. the focus is so terribly unfortunate, it's dangerous when people face evil or good falance, standing in a way of discussion that could make real change.

Getting to work as I said, there was Germany and Nazi growth from the 19th century, but then they wrote to the present and artistic genes.

"But apologize for all the comparisons with the onset of Nazism in today's political debate – how can we use the story to understand where we are now without relativization," says Hannes Meidal. Where in the meantime, we are trying to get oriented, but does it make us or lose something on the road?

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