2024-02-10 09:09:18
91 years after it was banned by the Nazis, Maria Lazar’s drama “The Fog of Dybern” was performed on Friday in the Graz Schauspielhaus. It is not surprising that a dystopia about a toxic fog and the resulting changes in society had no chance of being played in 1933. The performance is all the more pleasing, as its simple language and Johanna Wehner’s brief direction make it haunting and depressing in its severity.
A strange fog is wafting through Dybern, people are dying, animals are dying too. Rumors are making the rounds, speculations are making the rounds, and a paralyzing atmosphere is palpable. Is the fog really a force of nature or caused by humans? At first there is only discussion in the inn, but the uncertainty is almost physically noticeable: “There is always whispering and whispering, I can already feel it on my skin,” says Kathrine, who intersperses her sentences like a mixture of fortune teller and prophet. It soon turns out that the fog is caused by the chemical factory. The general director of the factory denies any connection, but secretly protective measures have long since been taken, gas masks have been ordered and a shelter has been built underground. The more dangerous the situation becomes, the more selfish people become and the more hardened their feelings become.
Greed for profit, repression, denial, fear – all of this results in a toxic brew that makes life in Dybern almost impossible. “I don’t want to raise a child here,” says the pregnant Barbara to her husband towards the end of the play, and she means not only the deadly fog, but also the deadly attitude that prevails there and which forced Maria Lazar to emigrate to Denmark. Her drama, which was created under the influence of the poison gas attacks in the First World War, premiered in Stettin in 1933, but the planned performance in Graz never took place.
The language is simple and straightforward, much is only hinted at for a long time, some remains unsaid but assumed. Director Johanna Wehner didn’t use any major effects, instead relying on precision, effective pauses and strong moments through music. Nine people show society as a whole, ranging from the immigrant woman without a family to the factory boss and his wife. The strangely decadent costumes with lace and glittery fabrics in rust and rosé tones (Miriam Draxl) give a visually closed impression, but are in contrast to the simple ambience (stage: Benjamin Schönecker) and the almost primal language.
The ensemble as a whole offers a great performance. Marielle Layher (Barbara) reflects the development of horror in her personal fate, Anke Stedingk (Katherine) plays a darkly wise woman, Tim Breyvogel (General Director) shows a smooth boss whose decisions turn against his own family. Sebastian Schindegger plays a suffering and powerless doctor and Otiti Engelhardt (Clarisse) portrays an ignorant but compassionate wife of the general director. Thomas Kramer (Jan) defends himself against the lack of information as a rebellious factory worker, Mario Lopatta (Josef), Simon Kirsch (Alexis) and Anna Klimovitskaya (Salvation Army Sister) complete the excellent team.
It was worth bringing Maria Lazar’s text to the stage in Graz at the second attempt, because the evening, despite all the darkness and oppression, is a timeless, current look at society.
(By Karin Zehetleitner/APA)
(SERVICE – “The Fog of Dybern” by Maria Lazar. Director: Johanna Wehner, stage: Benjamin Schönecker, costumes: Miriam Draxl. Cast: Kathrine: Anke Stedingk, Josef: Mario Lopatta, Barbara: Marielle Layher, Jan: Thomas Kramer, Dr. Thomsen: Sebastian Schindegger, Clarisse: Otiti Engelhardt, General Director: Tim Breyvogel, Alexis: Simon Kirsch, Salvation Army Sister: Anna Klimovitskaya. Graz Schauspielhaus. Next performances: February 13th, 16th, March 2nd, )
1707557007
#Dark #Lazars #Fog #Dybern #Graz #Schauspielhaus