After the first quarter of an hour you think it will be a great evening. Jürgen Holtz is on the stage of the Berliner ensemble, and plays Bertolt Brecht’s “Galileo Galilei”. Naked. Completely naked.

The great actor Jürgen Holtz, the state in the mid-Sixties for the first time on the Berlin boards, and then also with Brecht disciple Benno Besson has worked, is 86 years old. He stands at the front of the ramp, his body tells the story of the relentless power of gravity, but Holtz plays scores against you. He spreads his arms, as if he wanted to encompass the world, his eyes light up while he gushes over the “new time”, which had now, begun in 1609, for the science.

With precise intonation, and a clear optimism in his voice, he tells of the great desire, “to exploring the causes of all things,” and raves about the “Power of doubt”. Of a time, in the empiricism on Faith will triumph. The Church is Galileo’s daughter: in view of the torture instruments of the Inquisition, he will call his findings about the sun as center of the universe. But at this time is still a few hours before us.

Frank Castorf, the Director of this Evening, he “Galileo Galilei. The theatre and the plague” called, “and Bertolt Brecht”. Castorf staged after his departure from the Berlin volksbühne for the second Time at the Brecht founded the Berliner Ensemble.

Where are the primal instincts of the viewers?

And he wouldn’t be Castorf, if he would leave Brecht’s engagement with modern science-a plea for independence from capitalist interests and ideological influences on the one hand, and an appeal to the responsibility of scientists for the society, on the other hand, are. The Director and his Dramaturg Frank Raddatz to make a piece about the limits of enlightenment the result of the combination of Brecht’s work (in which a plague epidemic occurs) with the tract “The theatre and the plague” of the French theatre-lateral thinker Antonin Artaud. to want to

Brecht and Artaud on the stage together is about as if you wanted to resolve the wave-particle dualism of quantum physics. Brecht’s epic theatre is controlled (in theory) extremely head, it requires the emotional distancing of the viewer from the action on stage; Artaud called from the theatre, very roughly speaking, the enlightenment impulse to grab the audience with his buried primitive instincts. Where the Zeitgeist goes back in the direction of Artaud: The man, the knowledge does not live by mind alone.

In fact, Castorf at the Brecht-Artaud-dualism from the works for decades already – complex ideas about excessive passion for gambling, not only in consciousness but in the subconscious of the audience.

must of Course be on the stage also shitting

in his “Galileo Galilei” is more drastic than Brecht intended. As Andreas Döhler poops as Galileo’s friend Sagredo in a bucket, and Stefanie Reinsperger (as Galileo’s pragmatic, bawdy housekeeper), then eats with relish the content. Later, she stands, and Galileo’s daughter Virginia (Sina Martens), the bloody-purulent fever on bumps, the two hysterical screech. Be drowned out at most, from the moan, Jeanne Balibar, which temporarily assumes the role of Galilei, on the torture bench.

Balibar’s not wearing much more than two feather-adorned nipple stickers and a String. Later, you may throw, after all, a black feather coat. The extremely glamourous costumes Adriana Braga Peretzki, this time primarily in Black-and-White, with a lot of Sparkle and Charleston-inspired, act as an Anti-Thesis to Brecht, as well as the constructions of Aleksandar Deni’c, of the rotary stage overloads with an oversized wooden telescope, on the Venezia perched niche lion, a Venetian-influenced house (Galilei used is in the beginning in the service of the Republic of Venice), and a bell-tower. The Soundtrack ranges from 17. Century to David Bowie.

in Between, Jeanne Balibar and Andreas Döhler, Artaud’s sets to try on the Parallels between the plague and the Theater – either one will be cured, or it goes to reason – to bring to the audience while you perform with costumed skeletons an almost tender dance. It is a more or less systematic Overload of the senses.

No Bock on Brecht

With the actual piece of action, however, seems to have Castorf bored, a number of Brecht-scenes look uninspired and poorly rehearsed. Castorf’s production of old volksbühne ensemble had a certain Routine to transfer something, or to use impossible, here it is at the expense of the actor. The prompter needs to make, in part from the first row, the part on the stage, in the case of Holtz over long distances is hard work, and also his own, not-yet-full-year-old son Rocco, my Lord (as Galileo’s young assistant Andrea) seems to Castorf too much. His puppy charm cannot disguise the fact that his style of play is fairly mechanical.

The Timing remains on track, what makes it noticeable that the evening will take place and a target range of five hours to six, although many of the lengthy Dispute of Brecht’s pieces have been drastically curtailed.

The entire play seems to consist of loose pieces and has great moments. For example, when Stefanie Reinsperger refers, initially, only with an Apple in Hand and a little snake gezischel on the biblical story of creation, the quasi-Urkern of the mind-Belief-dualism, or Wolfgang Michael exclaims, “that man is the crown of creation,” while he rolls around as a pile of misery in the dust. Even Wolfgang and Michael, Aljoscha stadelmann as a representative of the Curia and the authorities-hearing science is a great comedian Duo.

As it is, is all the easier

What is it that the second half of the production occurs initially less tough, is the Hysterical-Forced less placed? Perhaps this is the Artaud effect: The mind is the result, it delivers the Happen, exhausted and a little weak-willed. Holtz raises to Galilei at the end, once again, to a large Brecht monologue in which he laments his failure to have brought the science to a self-commitment for the service of the people, similar to the Hippocratic oath of Doctors.

Then Rocco my Lord’s drinking than his young assistant, a glass of milk, quite like the master himself at the beginning. A Type Of Relay Delivery. But all are relieved when it is over.

“Galileo Galilei. The theatre and the plague”. Next performances are on December 20., 26., 27.1, as well as 10. and 16.2. in the Berliner Ensemble, www.berliner-ensemble.de