Sarah Kane

Gier (Crave)

Adattamento dal testo inglese a cura di Marius von Mayenburg

Prima rappresentazione in lingua tedesca

A Falk Rockstroh

B Thomas Dannemann

C Cristin König

M Michaela Steiger

Regia Thomas Ostermeier

Scenografia Rufus Didwiszus

Costumi Bernd Skodzig

Musiche Jörg Gollasch

Adattamento Marius von Mayenburg

Luci Erich Schneider

Video Jörg Felden, Rufus Didwiszus

Marionette Hans Thiemann

Assistente alla regia Gian Manuel Rau

Aiuto scenografa Anne Hölck

Aiuto costumista Sylvia Hagen‑Schäfer

Direttrice di scena Gertraud Weyand

Suggeritrice Gabriele Selfer

Direzione tecnica Heinrich Pfeilschifter

Assistente direttore tecnico Reitiliard. Wizisla

Trucco Urle Kusserow, Renate Wetzel‑Wagner

Oggetti di scena Angelika König

Suono Thomas Noaek

Direzione sartoria Luise Ebersbach, Beate Herrmannova

Acconciature femminili Monika SchinolI

Acconciature maschili Günter Welz

Illuminazione Hans‑Jürgen Simoncelli

Direttore degli allestimenti Helmut Müller

Direttore di palcoscenico Bernd Fischer

Responsabile costruzioni Manfred Mühling

Macchinista Bernd Grossmann

Capo attrezzista Helmut von Arentsschild

Pittore Andreas Geißel

Decoratore Thomas Mielenz

Carpentiere Hartmut Rosen

Fabbro Gerhard Heckmeier

Apprendisti alla regia Katharina Ley, Mithra Zaliedi

Fotografo Arno Declair

Schaubhüne am Lehniner Platz ‑ Berlin

Durata della rappresentazione: 1 ora e 15 minuti ‑ senza intervallo

Versione tedesca con sottotitoli in italiano e inglese


Two women and two men are talking about love and expressing their hope, anguish, desire, disillusionment, despair and loneliness The place in which the action 15 set 15 unspecified When they begin to speak we don't know anything about the four characters; we don't know who they are, whether this is a dialogue or a monologue, If there 15 any relationship between them or If they are together by chance Gradually from Individual sentences, snatches of dialogue, exclamations and fragments of stories, there emerge, in a free and musical form, interwoven motifs that allow us to put together the pieces of the mosaic of some ones life
The story 15 about a young woman who feels unable to be close to people, 15 desperate about her failure to love and wishes to free herself from the chains that restrict her private life The audience follows the thread of the characters' recollections and through an association of ideas gains an Insight into the wounds left by a traumatic childhood, which probably contrails the key to understanding the present suffering Different levels of consciousness overlap as in a dream, and characters from the past take fleeting shape in the figures present The audience penetrates the depths of human relationships, thus acquiring a complex picture of a psyche marked by addiction and sexual abuse the only way out seems to be the dissolution of the Self in death
Instead of narrating the story chronologically Gier by Sarah Kane gives us a "drama of memory" The structure based on the recollection of scenes, sentences and fragmentary episodes becomes dramatic action, thus opening up the road to a free musical form But Gier is first and foremost a linguistic masterpiece which, because of its lyrical elegance, rich imagery and complex references, can be seen to follow In the tradition of TS Eliot and James Joyce
"Don't say no to me you can't say no to me because it's such a relief to have love again and to lie in bed and be held and touched and kissed and adored and your heart will leap when you hear my voice and see my smile and feel my breath on your neck and your heart will race when I want to see you and I will lie to you from day one and use you and screw you and break your hearth because you broke mine first and you will love me more each day until the weight is unbearable and your life 15 mine and you'll die alone because I will take what I want then walk away and owe you nothing it's always there it's always been there and you cannot deny the life you feel fuck that life fuck that life fuck that life I have lost you now

Sara Kane

Sarah Kane was born in Essex in 1971
After studying drama at Bristol University, she attended the playwriting course at the University of Birmingham
She became famous overnight when her first work, Blasted, was staged at the Royal Court Theatre, London, in 1995
This was followed by Phaedra's Love, 1996, which she herself directed at the Gate Theatre, London, and, in 1998, by Cleansed, once again at the Royal Court Theatre The same year Crave (Gier) was performed as a Paines Plough Theatre/Royal Court Theatre coproduction. From 1998 to 1999 she worked exclusively for the Paines Plough Theatre Company
Sarah Kane committed suicide in February 1999.
Her works are published in Germany by Rowolt Verlag

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