Die schönen Tage von Aranjuez

in German, with overhead French titles

scenography Amina Handke
costumes Eva Desseker
lights Dominique Bruguière
sound David Müllner
dramaturgy Klaus Missbach

with Dörte Lyssewski, Jens Harzer

production Wiener Festwochen et Burgtheater (Vienne).

A man and a woman are sitting nestled amongst the murmuring cacophony of nature. It is as if at first, they had to remain silent in order to become one with the elements of the landscape around them. Moving, animated like the wind, spangled with cries from the four corners of the sky, this silence is like a connect-the-dots bridge, “from one time to another” – this time, which is so free and which is one of the musical keystones of the play. Lost time or time regained, the time it is, all intertwine with historical time (it is in Aranjuez that Schiller sets the story of Don Carlos). Under the lighthearted surface of vacation time, the depths of a truce or perhaps a solemn feast, is dug: chronology and meteorology, memory and sensations, are like pulsations that slowly meld together and beat in one, fundamental rhythm, together, in unison, until the last words are spoken, just before the darkness: “O, who knows what lurks in the depths of time.”

créé au Wiener Festwochen le 15 mai 2012.
à lire Les Beaux Jours d'Aranjuez de Peter Handke, version originale française de l'auteur, Le Bruit du temps, 2012.