CORRECTION
Premiere 1st of March 2018, Teaterøen, Copenhagen
Concept: Gardenparty
Text: Thomas Bernhard & Gardenparty
Performers: Tobias Shaw and Anders Tougaard
Composition and sound design: Tobias Shaw
Scenography: Maret Tamme
Photos by: Ursula Hoff Skoovgaard
Premiere 1st of March 2018, Teaterøen, Copenhagen
Concept: Gardenparty
Text: Thomas Bernhard & Gardenparty
Performers: Tobias Shaw and Anders Tougaard
Composition and sound design: Tobias Shaw
Scenography: Maret Tamme
Photos by: Ursula Hoff Skoovgaard
A manic performance about perfection and perversion inspired by Thomas Bernhard’s novel Correction from 1975. We investigate the choreographic possibilities in Bernhard's text and translate it into movement in scenography and bodies. The audience is led deep into the Kobernausser forest where a relentless search for the sublime is unfolding and nothing is permanent.
Roithamer, a character based on Wittgenstein, strives for the sublime to the point where he becomes monstrous. He has moved into the Kobernausser forest to build a perfect cone for his sister to live in. The new house fatally becomes her immediate tomb. Roithamer soon reaches the point where the only thing left to correct is himself. He commits suicide.
Bernhard's most prominent compositional elements are spirals and maddening repetitions. Bordering perversion. Correction implies change, not improvement. With the performance we challenge our ability to transform these peculiar, nauseating, obsessive repetitions into a visual medium.
Roithamer, a character based on Wittgenstein, strives for the sublime to the point where he becomes monstrous. He has moved into the Kobernausser forest to build a perfect cone for his sister to live in. The new house fatally becomes her immediate tomb. Roithamer soon reaches the point where the only thing left to correct is himself. He commits suicide.
Bernhard's most prominent compositional elements are spirals and maddening repetitions. Bordering perversion. Correction implies change, not improvement. With the performance we challenge our ability to transform these peculiar, nauseating, obsessive repetitions into a visual medium.
PERFORMANCE IN AARHUS
EXCERPTS FROM REHEARSAL
