Einige Überlegungen zur Bühnendarstellung, entstanden aus der Vision von „Nora“

Einige Überlegungen zur Bühnendarstellung, entstanden aus der Vision von „Nora“ – Regie Fassbinder

Fassbinders „A Doll's House “ (auf Deutsch „Nora“) ist sicherlich eine Darstellung von Ibsens Stück, die sich deutlich von allen anderen unterscheidet. Es gibt einen Text, aber der Text unterliegt einer ständigen „Deformierung“ durch den Regisseur und die ihn verkörpernden Schauspieler. Wie ein Spiel mit Spiegeln, die das gleiche Bild auf unterschiedliche Weise und aus unterschiedlichen Perspektiven reflektieren.

Dies ist bei Fassbinder sehr deutlich zu erkennen. Die gesamte Inszenierung von Ibsens Stück ist eine szenische Deformation.

Wie Pirandello sagt: „Das Werk des Schriftstellers endet genau dann, wenn er das letzte Wort geschrieben hat“, was bleibt ist szenisches Schaffen, Veränderung der Darstellung. Das gilt für alle – auch für Ibsen.

Doch eines bleibt untrennbar mit dem Autor, seiner Persönlichkeit und seinem kulturellen Hintergrund verbunden: seine Werte. Die Werte, an die er glaubt und die er in die Szene einbringt. Keine Darstellung kann diese Werte jemals ändern. Und wenn sie geändert würden, wäre es APOSTASIE.

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Può qualcuno nascondere la verità per tutta la sua vita e ingannare sé e tutti gli altri? Vi sono demoni nell'uomo, che vengono di lontano - per linee di sangue e generazioni che, se li ascolti, si fanno tuo dharma Se cerco di spiegare quello che eri Devo l' oltre e il prima guardare Dove cause ignote e foschi criteri Erano il karma del tuo andare. Di lí andavi larvato di nulla E mai il volto sincero mostravi. Di silenzio vivevi in una bolla Eppure libero a me sembravi. In pubblico e privato ti scindevi E disprezzavi me a te non pari Ma santo mi apparivi e tu sapevi. Del tuo dharma che adesso appari Eri schiavo - di quel lontano demone Tara remota e senza memoria Che nel sangue ti seguiva epigone E segnava immemore tua la storia.

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