Wycinka Holzfällen

The former student, passionate about music, who returns to Vienna after all these years; the man in his fifties with diseased lungs who learns of the suicide through hanging of a childhood friend whom he has not seen for decades; the now well-known writer who, much to his surprise and horror, accepts the invitation to a dinner supposedly dedicated to the memory of Joana, but which was actually organized prior to her death in honour of the elderly Burgtheater actor - the man we are talking about bares a strong resemblance to Thomas Bernhard.

Almost as soon as it was published in Austria in 1984, Woodcutters was banned following the issuing of legal proceedings against its author by the composer Gerhard Lampersberg, who recognized himself in the character of Auersberger (the senile and pretentious “successor to Schönberg” who hosts the “artistic dinner” in his Gentzgasse apartment to which the writer is invited). Bernhard, the scandal-monger, could not possibly have ignored the inevitable parallels that the whole of Vienna would draw. It was common knowledge that he himself had ties with the Lampersberg. Similarly, during the 1950’s, whilst still a young man and prior to his notoriety, Joana’s great friend had been a frequent visitor to the Auersberger before suddenly, one day, ending all contact with them, without a word of explanation. He also severed all links with their whole Viennese circle of friends, in order to pursue the work which would make of him, the only one of the clique, a true artist. Thus, the autobiographical element is plain to see. Beneath its cruelly satirical surface, Woodcutters is also a coming-of-age novel, a chilling work of introspection which veers towards destruction and massacre, and which relates, at a distance of thirty years, the first steps of an up-and-coming artist in an environment where he could all too easily lose sight of his true vocation. For the duration of the “artistic dinner”, the time of bygone days, illusions and discoveries, is confronted with the abominable present, in the form of the last-minute guest. And during this evening of reminiscences, only one voice rings out amidst all the lack of authenticity and, even if it means abolishing it in the minutes which follow, tells, simply and plainly, that thing which is so incredible that it is almost rendered inaudible: the truth, or at least something of it.

For this his return to the Odéon, Krystian Lupa has come back to one of his preferred authors on a subject which he holds close to his heart: the (unashamedly) spiritual dimension which drives the solitary quest of truly creative minds. The show, backed up (as is always the case with Lupa) by performers doted with mesmerizing presence and powers of concentration, was a runaway success at the 2015 Avignon Festival. An ode to flights of freedom and melancholy reunion, a hypocritical comedy of old friends, self-loathing and that of others, which we run the risk of looking like, shame and unease in the face of a bygone past which never fails to carry on into a hideous decrepitude, and moralistic, blood-curling humour. And hatred, an implacable hatred of all the mediocre trade-ins that all of us are capable, from time to time, of indulging in. All of this is to be found in Woodcutters, a cruel meditation on the powers of artifice and lies which falsify our existence.

Odéon 6e

Place de l'Odéon Paris 75006 France

Odéon 6e

30 november – 11 december 2016 / Length 4h40

Wycinka Holzfällen
Des arbres à abattre

by Thomas Bernhard

directed by Krystian Lupa

with Bożena Baranowska, Krzesisława Dubielówna, Jan Frycz, Anna Ilczuk, Michał Opaliński, Marcin Pempuś, Halina Rasiakówna, Piotr Skiba, Ewa Skibińska, Adam Szczyszczaj, Andrzej Szeremeta, Marta Zięba, Wojciech Ziemiański

in Polish, with subtitles

Length 4h40

Votre venue

Odéon 6e
Access

Prices

from 6€ to 40€
More info

Booking online opens November 4th. At the booking office and by telephone from November 10th; 2016

  • Wycinka Holzfällen | Wycinka Holzfällen, photo © Natalia Kabanow
    Wycinka Holzfällen, photo © Natalia Kabanow
  • Wycinka Holzfällen | Wycinka Holzfällen, photo © Natalia Kabanow
    Wycinka Holzfällen, photo © Natalia Kabanow
  • Wycinka Holzfällen | Wycinka Holzfällen, photo © Natalia Kabanow
    Wycinka Holzfällen, photo © Natalia Kabanow
  • Wycinka Holzfällen | Wycinka Holzfällen, photo © Natalia Kabanow
    Wycinka Holzfällen, photo © Natalia Kabanow

The former student, passionate about music, who returns to Vienna after all these years; the man in his fifties with diseased lungs who learns of the suicide through hanging of a childhood friend whom he has not seen for decades; the now well-known writer who, much to his surprise and horror, accepts the invitation to a dinner supposedly dedicated to the memory of Joana, but which was actually organized prior to her death in honour of the elderly Burgtheater actor - the man we are talking about bares a strong resemblance to Thomas Bernhard.

Almost as soon as it was published in Austria in 1984, Woodcutters was banned following the issuing of legal proceedings against its author by the composer Gerhard Lampersberg, who recognized himself in the character of Auersberger (the senile and pretentious “successor to Schönberg” who hosts the “artistic dinner” in his Gentzgasse apartment to which the writer is invited). Bernhard, the scandal-monger, could not possibly have ignored the inevitable parallels that the whole of Vienna would draw. It was common knowledge that he himself had ties with the Lampersberg. Similarly, during the 1950’s, whilst still a young man and prior to his notoriety, Joana’s great friend had been a frequent visitor to the Auersberger before suddenly, one day, ending all contact with them, without a word of explanation. He also severed all links with their whole Viennese circle of friends, in order to pursue the work which would make of him, the only one of the clique, a true artist. Thus, the autobiographical element is plain to see. Beneath its cruelly satirical surface, Woodcutters is also a coming-of-age novel, a chilling work of introspection which veers towards destruction and massacre, and which relates, at a distance of thirty years, the first steps of an up-and-coming artist in an environment where he could all too easily lose sight of his true vocation. For the duration of the “artistic dinner”, the time of bygone days, illusions and discoveries, is confronted with the abominable present, in the form of the last-minute guest. And during this evening of reminiscences, only one voice rings out amidst all the lack of authenticity and, even if it means abolishing it in the minutes which follow, tells, simply and plainly, that thing which is so incredible that it is almost rendered inaudible: the truth, or at least something of it.

For this his return to the Odéon, Krystian Lupa has come back to one of his preferred authors on a subject which he holds close to his heart: the (unashamedly) spiritual dimension which drives the solitary quest of truly creative minds. The show, backed up (as is always the case with Lupa) by performers doted with mesmerizing presence and powers of concentration, was a runaway success at the 2015 Avignon Festival. An ode to flights of freedom and melancholy reunion, a hypocritical comedy of old friends, self-loathing and that of others, which we run the risk of looking like, shame and unease in the face of a bygone past which never fails to carry on into a hideous decrepitude, and moralistic, blood-curling humour. And hatred, an implacable hatred of all the mediocre trade-ins that all of us are capable, from time to time, of indulging in. All of this is to be found in Woodcutters, a cruel meditation on the powers of artifice and lies which falsify our existence.

On Video

Credits

From the Polish translation by Monika Muskała
adaptation, scenography, lights Krystian lupa
costumes Piotr skiba
musical arrangements Bogumił Misala
video Karol Rakowski, Łukasz Twarkowski

production Teatr Polski – Wrocław
avec le soutien du Ministère de la Culture et du Patrimoine de Pologne, de l’Institut Adam Mickiewicz, de l’Adami

with the Festival d’Automne à Paris

Length 4h40

Director

Krystian Lupa

Krystian Lupa est né en 1943 à Jastrzebie Zdroj en Pologne. De 1963 à 1969, il suit des cours de peinture, puis d'art graphique à l'Académie des Beaux-Arts de Cracovie, dont il sort avec un diplôme en arts graphiques. Après des études de cinéma qu'il n'achève pas, il se forme pendant quatre ans à la mise en scène au Conservatoire d'Art Dramatique de Cracovie, où il obtient son diplôme en 1978.
Il commence alors sa carrière au Teatr Norwida de Jelenia Gora, tout en dirigeant quelques productions au Stary Teatr de Cracovie (notamment Yvonne, Princesse de Bourgogne, de Gombrowicz, en 1978). Son travail à Jelenia Gora présente un caractère expérimental très marqué. Dans un texte intitulé «Le théâtre de la révélation» Krystian Lupa expose sa conception du théâtre comme instrument d'exploration et de transgression des frontières de l'individualité. En 1986 il quitte définitivement Jelenia Gora pour le Stary Teatr de Cracovie dont il devient le metteur en scène attitré. Son arrivée à Cracovie coïncide avec un tournant de sa recherche. Il s'intéresse davantage aux questions éthiques, et la plupart de ses mises en scène puisent leur matière dans la littérature russe ou autrichienne.

Il a monté ou adapté pour la scène des auteurs tels que Musil (Esquisses de l'homme sans qualité, 1990), Dostoïevski (Les Frères Karamazov, 1990, reprise à l'Odéon en janvier 2000), Rilke (Malte ou le triptyque de l'enfant prodigue, 1991), Thomas Bernhard (La Plâtrière,1992 et Extinction), Tchekhov (Platonov; 1996), Hermann Broch (Les Somnambules), Werner Schwab (Les Présidentes, au Teatr Polski à Wroclaw en 1999). Depuis 1983, Krystian Lupa enseigne au Conservatoire d'Art Dramatique de Cracovie, où il est doyen de la faculté de mise en scène. De nombreux prix ont distingué son travail. Pour les Somnambules, il a obtenu le XXXVIème Grand Prix de la Critique dramatique et musicale pour le meilleur spectacle étranger.
Il a créé Le Maître et Marguerite d'après M. Boulgakov à Cracovie en 2002. En 2006, il crée Zaratustra d'après Friedrich Nietzsche et Einar Schleef.

A l'Odéon :
- Les Somnambules d'après Hermann Broch, 1998
- Les Frères Karamazov de Dostoïevski, 2000
- Auslöschung / Extinction d'après Thomas Bernhard, 2002
- Mistrz i Malgorzata (Le Maître et Marguerite), de Boulgakov, 2003
- Rodzenstwo : Ritter, Dene, Voss (Déjeuner chez Wittgenstein) de Thomas Bernhard, 2004
- Zaratustra, d'après Nietzsche et Einar Schleef, 2007

 

Excerpt

... et comme j’aspire effectivement non pas tant à la tranquillité qu’à être effectivement laissé tranquille. Oui, ai-je toujours pensé, si seulement j’avais pu naître autre que ce que je suis, et si seulement j’étais en somme devenu quelqu’un de tout à fait autre que celui que je suis devenu, si seulement j’étais finalement devenu un de ceux qu’on laisse tranquille.

Thomas Bernhard : Des arbres à abattre, éditions Gallimard, 1998, trad. Bernard Kreiss