Recommended for ages: 14 and above
The first version of «Tartuffe», which received its world premiere in 1664, was promptly banned by Louis XIV. The character of the imposter Tartuffe was too obviously an attack on the influential Catholic «parti des dévots»: in the course of the play this seemingly so pious and virtuous man is shown to have a range of corrupt motives – particularly of a sexual and financial nature. For this purpose Molière places him in the household of the rich Orgon, who – to the horror of his relatives – is only too happy to submit himself to Tartuffe’s influence. However, even his opponents whose future happiness he threatens are unable to resist the new ruler of the house. The family spends almost three acts spinning in ever more feverish circles around the absent title character before uniting in a plot to unmask Tartuffe in front of everyone.
Molière’s third version eventually secured the King‘s and the Bishop’s approval and survives today. Now the Cologne-based author and musician PeterLicht has been commissioned by Theater Basel to write a new version of the comedy, in which he not only sets his sights on the present time but supplements the play with several specially written songs. As with «The Misanthrope» in the 2016?/2017 season, the world premiere will be staged by director Claudia Bauer.
PeterLicht: «It’s quite clear that in this world there aren’t only two people telling each other things. There are more than two. That much is certain. Although many things from the set of building blocks from which the world is structured are based on binary arrangements, on the dualistic principle of argument and counter argument, truth and untruth, death and life, one and zero, dick and non-dick, one must not lose sight of the fact that there are more than two players, for example 3 or 4 or 7 or more. Or a lot MORE. An infinite number. Everyone. One. And then it’s obvious that when a play is presented in the theatre that deals with ALL PLAYERS, there is only ONE play. And that is the play of the ONE PLAYER (or the ONE BRAIN or ONE LIFE) through which the play runs, in other words through you, dear audience. The performance runs through you like a liquid drop of lead through a lump of butter, although in this case it’s not clear who is the lead and who is the butter, and perhaps we shouldn’t talk about liquid lead here but rather a glowing drop of molten gold that sinks through a pat of butter like a consciousness through which awareness sinks like a stone in a state of weightlessness.»
Musik und Texte
Preisstufe IV Schauspielhaus (von 30.– bis 60.–)