Welcome tears, welcome contradictions.
Dieter Roth is (and remains) an anomaly. Including because his first name sometimes drops a letter – and then, all of a sudden, Dieter Roth becomes Diter Roth and nobody knows why. But there is more to Anomalous Roth than just this. Starting in Switzerland, he travelled across half the world and ultimately ended up settling in Reykjavík. There, Roth worked on his formidable complete works, creating sculptures, painting, drawing and: writing. This latter activity is however one that only a few people are aware of. For Roth himself, it was crucial. Nothing else, he once said, was as important as “writing... or let’s say: thinking. And putting together sentences.”
In the late 1980s, Roth gave two special editions of his texts to Christoph Marthaler. The latter thenceforth moved from city to city, and excerpts from these texts would keep appearing in his productions – above all a poem about a so called ‘fattened calf’.
Now, almost 30 years later, we are witnessing the first highly public encounter between Roth and Marthaler. Two Swiss anomalies who have a lot in common, although they have not often crossed paths. For example, a pronounced partiality for the deterioration of body, spirit and chocolate before the slow march of time.
Welcome, diverse tears, welcome, contradictory world.
Swiss director Christoph Marthaler received the International Ibsen award in 2018
, and has previously visited the Festival with the performances ±0
(2011) and King Size
(2015). The Scandinavian premiere of Das Weinen (Das Wähnen)
was originally planned for the 2020 Bergen International Festival. After being postponed for months due to pandemic restrictions, the production could tour in Europe this fall and will finally be shown in Bergen in May.
‘Long live Marthaler Theatre.’
– FRANKFURTER ALLGEMEINE ZEITUNGPhoto: Gina Folly
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