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If so, could they produce such a production that a whole country, which defines itself as a professional football coach, will go on to the stage of theatrical criticism. In the fall of 1988, no politician could afford to express his opinion on what was very secretive on the evening of November 4th.
Why has Austria so heated up a work of which we have just spoken, according to the torn context Zitathäppchen ("In Austria, we must be either Catholic or National-Socialist"), it does not it opened only from a wider horizon.
Bernhard then acted as a well-functioning book scandal machine, although the author played this role a few weeks before his death (he had survived the premiere of "Heroes Square" just four months) against his publisher Siegfried Unseld once again denied. "You are accusing him of scandals, he would be in Gmunden in his apartment and would not be able to go out," said the words of Unseld Bernhard at the end of January 1989.
However, Bernhard's late publications have become small state crises since the seizure of "wooden cases" (which, among other things, have made it a bestseller). Bernard's sentences always went beyond the frame of the art thanks to strong contemporary references, and the author liked to feed a climate of excitation commented from afar (think of the "monologues of Mallorca" who preached the publication of "extinction").
Worried at Suhrkamp
When Bernhard signed the contract for "Heldenplatz" at Suhrkamp Headquarters in Klettenbergstraße, Frankfurt, Unseld directed him to unproven and problematic phrases that were "complaining": "The President is a liar", "a chancellor still struggling with illiteracy" Could make him a new seizure. Bernhard refused to change anything in his text as Claus Peymann, as director of the Burgtheater, would perform in time for the centenary of the Haus am Ring. A day later, Bernhard was at the meeting with his publisher, Raimund Fellinger, on the neutral floor of a Frankfurt hotel, ready to change all the incriminated sentences.
A mosaic stone with the procedure of the writer Bernhard, who has obviously changed between stubborn, proud and yet slightly distressed, which actually reveals a very Austrian trait. The one who so eagerly aroused the earth against him was fundamentally an Austrian from one side to the other.
The "Piefke" and the castle
The role played by Peymann in the castle was decisive for the stimulating climate that reigned on the world premiere of "Heroes' Square". In any case, West German actors from all over the country were in the spotlight, including the concern for the "pure Burgtheater-German" against. The fact that the "Piefkes" would not let anyone say anything has gone through the atmosphere of many Austrian newsrooms. Peymann fed the climate, as he left it via "time", you should equip the Burgtheater and demolish it, so he found a "shit" here in Vienna.
Bernhard had in Peymann the director who had catapulted him once, in the 1970s, on the stage of the Salzburg Festival, with "The Ignorant and the Madman" in the first series of German playwrights.
The place of Bernhard's heroes
The stage of the room is an apartment with a view of the Heroes' Square. The Jewish professor Schuster committed suicide exactly 50 years after Hitler called Austria at his home. The mourners gather to attend funerals and review his life: pursued by the Nazis, he emigrated to Oxford and then returned to Vienna. But present-day Austria seems to him unbearable. His wife still hears the cries of the crowds since the heroic place of those days.
The remarkable thing about it: Bernhard was meticulously interested in 1972 before staging his piece, because it could come to a first: the enthusiasm aroused by Peymanns gruff approach tried in advance to calibrate at best Bernhard.
Because of the "emergency fire scandal", the former first fell to the water. When, in 2016, the play was still on the stage of a Spielbetrieb at the Salzburg Festival, one could feel the reinterpretation that Bernhard 's reception had received after the death of the author in that country: Bernhard seems a little degenerate in Granter, the same politicians who had rejected him so generous in their hearts
Bernhard was also a leader, Mueller in December 1988, the truly intimate link between the author and his Austrian public. According to Bernhard Müller, Bernhard wrote "as if he was employed by the Austrian State to write against Austria"; In fact, the author therefore "really acquired a pension right".
Inverted photo of Austria
That Austria has been so receptive to all the statements of the late Bernhard and can no longer accept the borderline between art and reality as soon as Bernhard incorporated in his text the ingredients "Austria", "Catholicism" and "National Socialism", can also be profound Uncertainty in the country from the mid-1980s is localized. Due to the debate over Kurt Waldheim's presidency, the country has lost its status as a victim nation, especially on the international scene – an attitude internalized for decades as a living practice on the basis of the "Moscow Declaration".
Review of the world premiere of "Heldenplatz"
How much scandal has been left by months of excitement? In any case, the Vienna Burgtheater has never had such an advertising effect on a piece.
Especially in countries like France, people were receptive to writers who described Austria as a land of accomplices and co-leaders. Bernhard's strong reception, particularly with his belated work in foreign languages, is therefore probably more politically supported than, for example, by aesthetic categories.
Certainly, Bernard's typing lines and stylizations stem precisely from this intellectual field whose narrators always complain of the fall. His work is teeming with citizens all over the world who like to retire to their "beloved Pascal" and "Montaigne". In fact, these summoned characters are, at best, placeholders and symbols of a lost spiritual culture. Bernhard's sympathy or antipathy towards the great thinkers was stylized but hardly supported.
Harald Schmidt on his Austrian image influenced by Bernhard
In the summer, Harald Schmidt spoke to Clarissa Stadler about "kultur.montag", how Bernhard shaped her Austrian image.
Citizen of the world without cosmopolitanism
When Bernhard, in "Heldenplatz", deplores the loss of Jewish intellectual culture and complains about the unfortunate interaction of Catholicism, National Socialism and Austrian "socialism", he describes precisely the humus on which his work has prospered. And whose strikingly educated bourgeois strike lines were the least questioned in Austria.
Through his knowledge of the philosophy in the Reader's Digest, Bernhard was the ideal author for a country that had not lost any form of meritocratic elite training, not just during from the history of 1938 to 1945. Bernhard and his counterpart, especially the "Kronen Zeitung", rubbed against each other in their thematic clashes and their differences of content in a consensus of Basically anti-bourgeois base: here the seemingly cosmopolitan, as a popular magician of a popular newspaper, which pbades from the retirement of his art collector to the spirit of the country united.
Bernhard 's work today, with all its aesthetic peculiarities, is fundamentally similar to the performative performance of being Austrian – with the point that many of its former enemies have now incorporated it as clbadics. darlings. All this may be due to the fact that the authors and the antipodes were closer to each other than we would have expected in November 1988.
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