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In Goethe's "Faust", Mephibeleles presents himself as part of the power whose fate consists in always wanting evil and doing good.
It is undeniable to feel sympathy for the devil.
When Hannes Meidal and Jens Ohlin now let Fausttematiken run the theater generator they installed in Elverket, another type of power is produced. The one who always claims to be good but does not do anything wrong.
"There is something in our time, on all fronts, the evil must be reported and separated, condemned, removed, so that the" good "appears clearly and clearly," said Meidal and Ohlin in an interview published in the program of representation.
Have a good time. Say the right thing. Take yourself off as said, think and hurt. Distinguish yourself from all and all who did not ignore who said and felt bad. Distinguish yourself from their own discouragement when everyone finally agreed that it was unfortunate that everyone had previously agreed to distance themselves. Pudla. Pudla because of the pudding.
You recognize him. And there is certainly something boring in the fear of not being on the right side of moral controls at the border. So it's no wonder that Mefisto, who, at Goethe's, makes his entrance like a spicy and playful poodle, has now become a rather tired and swollen dog's bruise in the laconic, convincing style of Per Mattsson.
In a dark pink dress with the matching poodle, he is poured into a red cane and sits on his stomach. He has the air of a brothel conceived. The scene, which is initially a nightmare in reddish green, is also known as "The House". But it's a cultural institution, a kind of academy. It is here that Faust acted as a cultured sovereign and brilliant composer whose genius (perhaps) is guaranteed by an alliance with the devil.
But now, Faust is dead. His "famulus", auxiliary, Wagner took over. Now, for her, Wagner is a woman, show the world what Faust saw in her once he called her "go down to the basement" to find the great authentic art.
Thérèse Brunnander is like the high performance high performance line Iris Wagner. Deadly Flow is immune in his body and monologues. Faust, the cultured cultural profile, has been found to have not only stored artistic tools in its basement, but also, in the Austrian way, the young woman Gretchen. Even now, she is dead, but as living proof of Faust's rotten morality, her common daughter and Gretchen's daughter, Nepomuk (Frida Österberg), emerge in the light.
Crisis Management Day. Now it will be claimed and taken care of, or at least "partly-responsibility". Now is the time to point out the real culprits, convince yourself or at least convince everyone to be innocent. In the worst case, make a real diabolical poodle.
Brunnander is sweaty brilliant as a fraudster of conscience. She is supported by her colleagues Martha and Valentin, during the public debate Dupond & Dupont, which changes its costumes according to trends in moral fashion. Ana Gil Melo Nascimento and Hannes Meidal himself, in order to take up one of the favorite expressions of their gestures, figure well in this assassination of the contemporary faculty of social adaptation.
Hannes Meidal and Jens Ohlin specialize in creating entirely personal theater works for a classic; "Schiller" by Schiller, "Don Giovanni" by Mozart and now "Hamlet". The new performance reflects the fact that both are probably the most intelligent and cutting-edge screenwriters in Sweden.
A detailed study of their Faust would probably reveal so many cunning and straightforward loans and assumptions that this would be enough for at least one chapter in a thesis. Just take the pair of theme songs borrowed by the Depeche Mode synthesis group; "Enjoy the silence". WIkipedia can say that the B side of the single was an instrumental composition entitled "Memphisto", intended to illustrate a film developed with Elvis Presley in the role of Hin wicked.
We are quite numerous who are weak for that. But the only weak point of this performance is that we can really rely on our appetite.
Faust is one of the most recurring characters in the world. And to the extent that Meidal and Ohlin support a specific model, it is rather Thomas Mann's novel, "Dr. Faustus", than the "sad game" of Goethe.
Mann 's novel embodies the demonic and the amoral in the art. The composer Adrian Leverkühn sells his soul to the devil and in turn gets the power to create music of the time. His fictionalist lifeist, the normal humanist and citizen Zeitblom, is reincarnated at Elverket in the form of Razmus Nyströms überivriga, but a mediocre artist. It is he who ends up triumphing and seizing the "House". Monstrously.
But then there is a drama At the same time, to a certain extent, it has been removed from its own brilliant meta-aesthetic. The poodle spoke to Demonic and we talked about a "Faust Year". The chances that the tragedy about the drama is acceptable are more than adequate, but I miss a bit of the cold and raw sucking of the basement of the brilliant performance of "Hamlet" by Meidal and Ohlin. But as all creators of poodles and theaters know, regardless of the situation, you have the tail behind you.
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