Cate Blanchett plays the theatre: no one faints

    0
    2008

    Praised for his insight into the innermost corners of the Psyche and condemned as pornography in the mantle of the moral teaching, was Samuel Richardson’s “Pamela, or, the reward of virtue” a scandal of success that started in Europe, “Pamela mania”. Almost three centuries after their appearance speaks the story of the fifteen-year-old maid, defended his innocence against the aggressive advances of his Lord, eloquently to the age of the debates on the “MeToo”, sexual identity and the gender ratio. For his disturbing just positions of latent desires and feelings known playwright Martin Crimp has interpreted Richardson’s fabric now for the modern sensibility, it could also be insensitivity to say.

    Gina Thomas

    feuilleton correspondent, based in London.

    F. A. Z.

    His as a provocation, as announced twelve variations on the theme of “Pamela” under the unwieldy title, “When We Have Sufficiently Tortured Each Other” (If we have tortured sufficiently), is borrowed from the novel. The Australian Oscar-winner Cate Blanchett as the driving force behind the London’s National Theatre is expected, it is probably a similar scandal, success, and how they experienced the much-discussed, parodied and updated template in 1740. Because of the expected demand for the 450 seats in the Dorfman Theatre, the smallest of the three stages of the house, ran the ticket sales, a raffle system. As on the evening of the first preview, an audience member fainted dead away, and shouted the “Times” in the Headline to its report: “the lights are turned off, the quantity is unconscious in an Orgy of Sex and violence.” The lucky ticket buyer received warnings about “adult issues” and “violent scenes of erotic Art”.

    The alleged Orgy was going on in the double garage of a private house that Vicki Mortimer has designed to the Amazon package with meticulous attention to Detail. There are six in the unclear relationship between persons between Audi and junk have become one of the eerie music under the old game of dominance and submission Dating. Crimp has transformed Richardson’s lecherous Mr. B in a nameless man who thinks of the people through money, and the authority of the Male submissive. The object of his desire is a self-confident woman who denies to be called Pamela. She defies her tormentors with arch Despite, and him to perverse Desires and self-seeking in nothing.

    From the class to feel nothing is difference

    As a helper four characters are ordered according to the instructions of the man in the set-up erotic-psychological power of game intervention: two girls in Uniform, a tight, scared little man who gets his services will pay, and whose aunt, Mrs. Jewkes, the questionable housekeeper from the novel, the Richardson’s only semi-Craving for Pamela Crimp makes explicit – as he formulated all of the book’s implied ambivalence pretentious.

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    The trenchant and turn Off neon lights between the variations increases as well as the hand-held microphones are held in a old-fashioned TV show, the meta-theatrical character of Katie Mitchell’s tight staging. Crimp loaded his piece with cliché observations to the issues of Gender, capitalism and the gap between the Poor and the rich, the the of Jessica Gunning scores presented Mrs. Jewkes attributed to her Obesity, and the crime of her nephew.

    In the novel was Pamela’s fortitude to mutate the compulsive desires of your Bedrängers decent love. They persuaded the landlord to a friends intended marriage, which enabled her to rise from the petty bourgeoisie, a leveling, the class-conscious eighteenth-century shocked more than the sexual Assaults.