German
Johannes Kreidler Composer

Industrialisation of the Romantic (2016)

Szenic Essay on Wagner and Marx, premiered at Operncafé Halle, 1.11.2016

Duration: 75'

Dan Karlström, Voice / Speaker
Kay Stromberg, Piano
Hansjörg Zäther, Assistant
Michael von zur Mühlen, Dramaturgy
Christoph Ernst, Room concept
Johannes Kreidler, Concept / Director / Performance

Trailer 1

Trailer 2

In a theatre happening Johannes Kreidler circles associatively, atmospherically and collaged around the upheaval and contradiction between romanticism and industrialisation in the 19th century. Using photography, which according to Kreidler came "far too early", he depicts moments of the simultaneity of the non-simultaneous, as found in Schubert's and Brahms' songs as well as in Wagner's Ring des Nibelungen, which wants to be a "work of art of the future" and at the same time plays in a mythical fairytale world. Chopin had himself photographed as early as 1846, while Wagner's first surviving photograph is from 1860 - on which he looks >irre<. There are a total of 57 different photographs of Wagner, all of which Kreidler had printed as postcards in the Hallesche Oper's stage printing works and also hung up (and hung up again) as posters. He also analyses Wagner's first film biography from 1913 qua reenactment with Selfiestick.

The analogy between the exposure time (which in the middle of the 19th century was still five minutes) and the duration of the Rheingold prelude (five minutes) is not by chance; just as it takes this duration for the light impression to be burned onto the photo plate, Wagner also needs this duration to burn in the E-flat major. The audience sits motionless in the Bayreuth Festspielhaus just as motionless as in a photo session. And so for five minutes the information burns into the audience in the performer's play, which has not yet got around much that Wagner never expressed himself about Marx. But like Wagner, Marx also uses this analogy for the objectivity of goods, which we take to be objective like the impression of light, but which in reality is a physical matter of the eye. Derrida also returns to the canvas when, in Marx's Ghosts, he combines ghost photography, a kind of 19th-century creepy fashion, with Marx's Spirit and Ghost metaphor.

The hiding of technology: the orchestra in the ditch, as the photo in the apparatus, the darkroom Bayreuth; and the loudspeaker is also an invisible orchestra - the hiding of technology, which is then made visible by placing paper, here Wagner's photos, on the membrane and thus vibrating, happens as ghost technology without technology. Not to forget, by the way: Marx's excitement also comes from the spirit of romanticism; his utopianism is the child of pre-March enthusiasm. Many times Marx uses the word >Instrument< as a political metaphor in capital. In Kreidler's scenic essay, art accordingly has the task of de-metaphorizing the >instrument< into an instrument again.

Industrialisierung der Romantik
Whole Piece, 75 Minutes

Review in Neue Musikzeitung

"[...]
Kreidler bei dieser Spurensuche zu folgen, macht Spaß. Dass zu Zeiten, als die Fotografie aufkam, die Belichtungszeit für ein Foto (zum Beispiel von Richard Wagner) so lange dauerte wie das Rheingold-Vorspiel, diese Technik also irgendwie zu früh kam, ist so eine von den vielen Pointen, die er vorspielt und die nachwirken, auch wenn er längst Nietzsches brillant formulierte Wagnerverachtung aufblitzen lässt. Oder das „Kapital“ aufschlägt und allein mit Marx’ ersten Sätzen über die Ware, dessen Rang als wortgewaltigen Analytiker in Erinnerung ruft. Er verhakt sich staunend in der Wiederholungsschleife des Satzes „Der Name Marx findet sich in Wagners Äußerungen überhaupt nicht, während eine Beschäftigung mit Hegel immerhin aktenkundig ist.“ Stimmt. Immerhin. Vielleicht deckte ja Herzensfeind Nietzsche Wagners Philosophen-Bedarf hinlänglich. Wo Kreidler mit dem besseren Wissen des Nachgeborenen die Marxsche Dialektik genau in Nibelheim auf Wagner treffen lässt, sprühen schließlich die Geistesfunken!"

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Website of Oper Halle about the project.

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Photos: Falk Wenzel

 

 

 

 

 

 

 

 

 

 

Commission of Opera Halle for the series "Kunstwerk der Zukunft".

Related works:
Two years later, Kreidler has created for Opera Halle My State als Friend and Beloved.