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Cooperation with German playwright Heiner Müller and choreographer Hans Kresnik on a play about Antonin Artaud. |
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Atelier Helnwein
Schloss Burg Brohl 31. May 1989 |
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Pro Memoria 31. 5. und 1. 6. 1989
Am 31.5 und 1. 6. 1989 trafen sich Heiner Müller, Hans Kresnik, Gottfried Helnwein und Ismael Ivo in Helnweins Atelier auf Schloss Burgbrohl um gemeinsam ein Theaterstück über Antonin Artaud zu erarbeiten. Das Stück ist nie realisiert worden, die Arbeitsnotizen sind in Teilen erhalten.
Für die Struktur des Stückes sollten drei bis fünf Motive über Artaud als Variationen erscheinen wie bei einer Komposition. Heiner Müller sagt, er könne am besten nach Bildern schreiben. Er schlägt vor: Helnwein solle alle erdenklichen Variationen zu dem Thema zeichnen und malen, die als Inspiratione dienen sollen, und auf deren Grundlage Kresnik die Choreographie erarbeiten soll. |
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Heiner Müller zu Gottfried Helnwein
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BLACK MIRROR
(English translation)
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A story by Stephen King. An American schoolboy, twelve or thirteen years old, fascinated in his small-town boredom by documents on the German concentration camps - the way his classmates are by Superman - the formula of his fascination: THEY JUST DID THOSE THINGS...
How does a friendly person like Helnwein stand making his - excellent - painting into a mirror of the terrors of this century? Or is it that he can't stand not doing it? Does his mirror just reflect the attitude of the century? TERROR WITHOUT END IS BETTER THAN AN ENDING IN TERROR. It comes from the over-evaluation of death, a consequence of "statistics" making it taboo. Perseus guillotines the Gorgon in the mirror -, and when the head falls, it is his own. How many heads does a person/man have in our age of mirrors? |
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HEINER MÜLLER, HANS KRESNIK UND GOTTFRIED HELNWEIN ARBEITEN AN EINEM THEATERSTÜCK ÜBER ANTONIN ARTAUD
