Weiskerns Nachlass //
World Premiere // Stager Adaptation by Julie Paucker and Enrico Stolzenburg
Rüdiger Stolzenburg is 59 years old and a rather popular lecturer at the Institute of Cultural Studies in Leipzig. He still succeeds in impressing his students – and particularly his female students, who occasionally approach him with unambiguous offers which he gently turns down with a smile. After all, he has his principles. His current life partner (relationships lasting longer than six months are tedious to him) is young, attractive and nice – he really likes her. And his favourite research project about the cartographer and Mozart librettist Friedrich Wilhelm Weiskern is on the verge of a breakthrough as he has just stumbled across letters that no one knew about.
This is how Stolzenburg sees life in his more optimistic hours.
But every so often, he is befallen by the suspicion that the things he had hoped to achieve in his life and career in the past will never happen. For the past 15 years, he’s been waiting for the Institute to convert his part-time post into a full-time position, but unfortunately it looks like more budget cuts are in the pipeline. No one seems interested in his Weiskern project and there is a chance that the discovered letters are a forgery. And Henriette, the only woman with whom he could imagine a longer-term relationship, is keeping her distance.
Suddenly events come to a head. Stolzenburg gets tangled up in a criminal investigation, with attempted bribery, violence on the street, debt reclamation. He is suddenly in serious danger of slipping into poverty and facing old age alone. Is this the result of personal failure, a chain of unfortunate coincidences or simply bad luck? Or has something imperceptibly changed in society and Stolzenburg is only one of many who cannot roll with the punches?
With his characteristic sangfroid, Christoph Hein spectacularly portrays the unspectacular life of Rüdiger Stolzenburg and outlines the résumé of an (East) German academic whose apparent mediocrity is ultimately the result of historic upheaval. Stolzenburg is the prototypical representative of a growing academic precariat. He is the sobering, contemporary response to Faust.
Enrico Stolzenburg has directed in Berlin, Berne, Constance, Freiburg and Magdeburg. His projects have taken him to numerous theatres and festivals abroad, including Strasbourg, Miryang/South Korea, Osaka, Athens and Helsinki. His main focus is on the development of new plays and world premieres in dramatic and music theatre. In 2003, he directed Heiner Müller’s »Quartet« at the DNT. As an in-house director at the DNT, he will also be directing »Schwarze Bären« (Black Bears) in the coming season.
Enrico Stolzenburg (director)
Katrin Hieronimus (stage desing and cotumes)
Kirsten Reese (sound design)
Julie Paucker (dramaturgy)
Ingolf Müller-Beck (Rüdiger Stolzenburg)
Bernd Lange (Frieder Schlösser)
Sebastian Nakajew (Klemens Gaede)
Nadja Robiné (Patrizia)
Tobias Schormann (Sebastian Hollert)
Anna Windmüller (Marion)
(Daphne Auer, Helena Hanneder, Cora Kneisz, Madleen Singer / D.A.S. Jugendtheater e.V. im stellwerk)
(Helene Engler, Florentine Heidel, Sophia Reiser / Statisterie des DNT)