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Jedermann premiere at the Salzburg Festival: old white Jedermann

2022-07-19T12:28:41.931Z


Jedermann premiere at the Salzburg Festival: old white Jedermann Created: 07/19/2022, 14:16 By: Katja Kraft Black cape with sewn-in phallus: Lars Eidinger wanted to present himself as an old white man in the title role. Has he succeeded? Matthias Horn © babiradpicture/87 The revival of the "Jedermann" production from 2021 has now celebrated its acclaimed premiere at the Salzburg Festival. This


Jedermann premiere at the Salzburg Festival: old white Jedermann

Created: 07/19/2022, 14:16

By: Katja Kraft

Black cape with sewn-in phallus: Lars Eidinger wanted to present himself as an old white man in the title role.

Has he succeeded?

Matthias Horn © babiradpicture/87

The revival of the "Jedermann" production from 2021 has now celebrated its acclaimed premiere at the Salzburg Festival.

This marks the start of the last season for Lars Eidinger as Jedermann and Verena Altenberger as Amour in Hugo von Hofmannthal's classic.

What an estate!

Everyone likes to present it.

He sits there, legs apart, in his royal doublet.

Manspreading at its best.

Renate Martin and Andreas Donhauser (stage/costumes) sewed a phallus into Lars Eidinger's Jedermann costume.

The message that the actor himself wants to send with his interpretation of the title role becomes abundantly clear: Look where toxic masculinity is taking us.

"Who am I?

The rich Jedermann.” And that's why one of the strongest scenes on this strong premiere evening at the Salzburg Festival is when the paramour (Verena Altenberger) gently pulls the plump cloak off his body.

Everyman is now standing there naked except for his underpants – and is suddenly full of tenderness.

The way is clear for pure love, without dominance.

For where two are honestly devoted to each other,

Honest lovers: the paramour (Verena Altenberger) and her Jedermann (Lars Eidinger).

© babiradpicture

This is the Altenberger's greatest merit: she succeeds in showing a love affair, which is believed to have affection for her rich husband.

Her lover isn't a gold digger who runs away when the fun is over.

This woman truly loves.

And he loves her.

In this love they are equals.

There is no more patriarchal power imbalance.

When they say goodbye to each other because his term on earth is almost up, there is a shimmer in the air.

In an intense, erotic body ballet of seduction, devotion, then again her rebellion against his desperate attempt to take her on the last journey, it becomes clear that the lover is struggling with herself.

She doesn't make it easy for herself.

She too is desperate.

But this woman is already further than her child-headed partner, who thinks

to be able to trick oneself out of the situation again.

The paramour knows she must let him go.

Everyone dies alone.

Pandemic, Ukraine war, #MeToo: "Everyman" has a new urgency

Unmistakably, Verena Altenberger and Lars Eidinger played a massive part in the creation of this "Jedermann" production.

As reported, they revised director Michael Sturminger's bland production from 2017 in 2021, oh what, they created something completely new.

And they did a great job, namely: to give “Jedermann” a voice that people like to listen to.

Because you no longer have the feeling of experiencing an untimely, pious story that was solved too simply in the end.

Suddenly you realize how topical the questions are that Hugo von Hofmannsthal dealt with in his play about the death of the rich man in 1911.

In times of pandemic, war in Europe, #MeToo, you feel a new urgency.

And feels – whether everyone or every woman – addressed.

On the one hand through the gender-fluid costumes.

And also because the actors allow themselves to break through the fourth wall.

If the shouts of "Jeeeeeedermann" ring out across the cathedral square and nobody on the stage hears it, except for the tragic title hero, he says dryly to the audience: "You hear it too, don't you?

You can hear it too!” And when Edith Clever appears as Death at the age of 81, no one can escape her gaze.

Clever slowly lets her cat's eyes wander over the rows of spectators.

From human to human.

Remember that you are mortal.

You too, enjoying the balmy summer night in Salzburg.

Because: "I'll come quickly."

No pleading and no crying will help.

Everyone tries it.

As Eidinger himself repeats the death call, shouting everyone's name with all his might, a mixture of tears, snot and sweat on his face, all wealth is forgotten.

There he stands, the poor fool.

A pathetic, naked man.

"All alone."

Tragicomic slapstick number: Jedermann (Lars Eidinger) and the debtor (Mirco Kreibich) fight a boxing match.

© Schneider-Press/NZ

also read

Lars Eidinger retires from the Salzburg Festival

"Everyman" in Salzburg: the festival starts with Verena Altenberger and Lars Eidinger

There are so many who could help him.

Everyone in the ensemble would have to be mentioned because - one has the feeling, even more freely than in 2021 - they all make the evening relevant entertainment.

It is all the more regrettable that Lars Eidinger and Verena Altenberger have announced their departure.

It will be the last season of this ensemble.

Mirco Kreibich, this physical acrobat, should be mentioned as a representative.

What a wise decision to let him play debt servant and Mammon.

As the former, he fights in the boxing ring without a chance against the overpowering old white Jedermann.

But all the punches he gets in this tragi-comic slapstick number he can later pay back to the opponent in the role of mammon.

The last shirt has no pockets – the rich cannot take their money with them into the afterlife.

The production cleverly picks up the choreography of the debtor's scene again.

But this time everyone loses.

Angela Winkler inspires as everyone's loving mother © Schneider-Press

Or Angela Winkler.

She takes on the role of the gentle mother who cares so much about her dear son.

And again, tenderness wins over testosterone-laden power.

When the lad sits at the edge of the stage with his legs apart again at the beginning, Mama squeezes his left leg with exuberant affection.

So brave that he has to change his attitude.

He's still doing it unconsciously.

Only at the end does he learn to behave like an adult.

Become aware of the consequences of your actions.

And we?

Information on possible remaining tickets for the next performances of “Jedermann” can be found here

Source: merkur

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