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  • Großes Haus
  • Premiere 11.02.2023
  • Duration 3 h 0 min
  • Break: 1 Pause

The Nibelungs

Play by Friedrich Hebbel

The story of the dragon-slayer Siegfried, who, equipped with the great sword Balmung and a cloak of invisibility, stirs up the Burgundian court in Worms, where the bravest knights of the age have gathered, has many facets. They range from fantasy games to the gigantic opera saga »The Ring of the Nibelung« by Richard Wagner.

The poet Friedrich Hebbel finished his own version in 1861, even before Wagner.

Into the boredom at the Worms court bursts hero Siegfried, who wants to measure his strength with King Gunther and his men. An unequal contest! For how does one win against a man who has been made invulnerable by dragon's blood except for a tiny spot? But this invincible fellow, who – love at first sight – desires Kriemhild, the daughter of the house, can be of use. He is to bring Brunhild, the mysterious queen of Isenland, home as a bridal trophy for Gunther. Brunhild forces her suitors into a life-threatening contest, which only someone like Siegfried can pass unscathed.

The deal between him, Gunther and the latter's faithful adjutant Hagen (one hand washes the other, after all) is quickly concluded: Kriemhild is to be given to Siegfried if he conquers Brunhild for his future brother-in-law.

The deal succeeds. However, only until the double wedding night, when Gunther is defeated by Brunhild and has to summon Siegfried to his aid again. Protected by the cloak of invisibility, he overpowers Brunhild once more. The proud queen eventually learns that violence has been paired with betrayal when Kriemhild, full of scorn, presents her with the belt that Siegfried appropriated on the ill-fated night. The vow of silence between Gunther, Hagen and Siegfried is broken. And Hagen insists on Siegfried's death for the sake of his king's honour.

The murder plan, which Hagen carries out with extreme precision, has consequences: it does not soothe the pain of the wronged Brunhild, but it drives a wedge between Gunther and his brothers and turns Kriemhild into a relentless avenger. She marries a second time. The power of Etzel, the pagan King of the Huns, a mighty conqueror, comes just in time for her to plot her revenge. Thus she invites everyone to a family party at King Etzel's domicile on the Danube. And finally, after seven years, the Burgundians, including their favourite enemy Hagen, arrive in the land of the Huns ...

The 12th century epic poem »Nibelungenlied«, on which Hebbel's play is based, was elevated to the status of a German national myth in the 19th century at the latest. Its changing interpretation is part of German actual history. Hebbel's epic, which premièred in Weimar in 1861, remains close to the myth, but unfolds as a psychologically precise study of hubris, wounded pride, demarcation, political intrigue, well-intentioned betrayal, revenge and loyalty, which is both frightening and impressive in its radicalism.

Directed by General Director Hasko Weber.

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»Regisseur und Intendant Hasko Weber hat mit seinem Ensemble am Deutschen Nationaltheater Weimar Hebbels ‚Die Nibelungen‘ in einer schnörkellosen, bildstarken Inszenierung auf die fast leere Drehbühne gestellt, die sich durch große, angelaufene Stahlhalbrunde in Burg und Schiff verwandeln kann (Bühne: ebenfalls Thilo Reuther). Dabei kommt bisweilen ›Game of Thrones‹-Feeling auf. […] Hasko Weber verlässt sich mit diesen ›Nibelungen‹ ganz auf Hebbels Stoff, seine Sprache, seine Figurenzeichnung – und sein vorzügliches Ensemble, das diesen düsteren Totentanz der Gewaltherrschaft ohne Verluste umzusetzen weiß. Das ist nie langweilig […]. Es bleibt in seiner epischen Breite vor allem beeindruckend.«

(Theater heute, April 2023, Torben Ibs)

 

»Der Regisseur und seine Dramaturgin Beate Seidel versuchen nicht, Hebbels Werk, etwa durch Hinzufügungen zum Text, ein ›modernes Lebens-Problem‹ zu implantieren, sondern überlassen es den Zuschauern, Analogien in der Gegenwart aufzufinden. Das wirkt, jedenfalls in den ersten zwei Stunden, wie aus der Zeit gefallen. Das muss nicht von Nachteil sein. Und mag sogar verblüffen. […] Das Kapital dieser Inszenierung sind das durchweg fabelhafte Ensemble, aus dem Einzelne hervorzuheben ungerecht wäre, und die von einer Basstrommel beherrschte Musik von Sven Helbig. Ein ungewöhnlicher Theaterabend.«

(KULTUR-EXTRA, 3.6.2023, Thomas Rothschild)

Die vollständige Rezension können Sie hier lesen

  • Hasko Weber (Regie)
  • Thilo Reuther (Bühne & Kostüme)
  • Andrea Wöllner (Künstlerische Mitarbeit Kostüme)
  • Sven Helbig (Musik)
  • Beate Seidel (Dramaturgie)
  • Christian Schirmer (Licht)
  • Andreas Günther (Who-be) (Video)
  • Philipp Otto (König Gunther)
  • Nadja Robiné (Kriemhild, dessen Schwester)
  • Janus Torp (Giselher, deren Bruder)
  • Calvin-Noel Auer (Gerenot, deren Bruder)
  • Annelie Korn (Ute, deren Mutter)
  • Sebastian Kowski (Hagen Tronje)
  • Fabian Hagen (Dankwart, dessen Bruder)
  • Marcus Horn (Volker, Spielmann)
  • Martin Esser (Kaplan)
  • Nahuel Häfliger (Siegfried)
  • Johanna Geißler (Brunhild, Königin)
  • Bastian Heidenreich (Frigga, deren Vertraute)
  • Nahuel Häfliger (König Etzel)
  • Krunoslav Šebrek (Markgraf Rüdeger)
  • Tahera Hashemi (Götelinde, dessen Frau)
  • Annelie Korn (Gudrun, deren Tochter)
  • Bastian Heidenreich (Werbel/Hildebrant)