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A fabulous duo: Robert Wilson and Christian Friedel
By Walter H. Krämer
The text to “Dorian“ comes from Darryl Pinckney based on motifs from Oscar Wilde. It was directed by the American director Robert Wilson – one of the most important theater makers of our time and traveling around the world. His works combine elements of dance, performance, architecture, painting, music and drama “Dorian”, Wilsons worked with the actor again in his third work at the Schauspielhaus Düsseldorf after “The Sandman”. Christian Friedel together. The production of the Düsseldorfer Schauspielhaus in co-production with the National Kaunas Drama Theater and that Dresden State Theater – will soon be back in Dresden for three dates.
“Dorian” by Darryl Pinckney (text) and Robert Wilson (visual book) based on motifs by Oscar Wilde with Christian Friedel, photo: Lucie Jansch
The impetus for Darryl Pinckney’s lyrics “Dorian” came from Robert Wilson himself. He had little interest in the novel “The Picture of Dorian Gray” to illustrate and bring it to the stage and so the writer Darryl Pinckney turned the material into an evening about art and life by telling the story of the novel “The Picture of Dorian Gray”that of the English painter icon Francis Bacon and that of the author Oscar Wilde connects with each other. Three stories in which memories of experiences, reflections and feelings overlap and thus become an associative narrative.
The painter Basil Hallward is obsessed with his model Dorian Gray. The main character, the rich and beautiful Dorian Gray, has a portrait that ages instead of him and in which the traces of his sins are inscribed. While Gray becomes more and more self-indulgent and cruel, his appearance remains young and immaculately beautiful. The novel questions the legitimacy of an attitude to life that focuses only on enjoyment, the joy of the moment and the avoidance of suffering and criticizes the moral depravity of the English upper class. And Oscar Wilde does not miss the opportunity to make comments about art – as a proclamation or criticism – in the text.
The poet Oscar Wilde is the darling of London society – until he is accused of “immoral relations” with his lover Alfred Douglas is reported by his father and has to go to prison. He is released as a broken man.
A third narrative strand relates to the painter Francis Baconhis model and later lover George Dyer. Francis Bacon surprises the petty criminal when he breaks into his studio. Instead of calling the police, he lets him sit as a model. The two become a couple. Ultimately overwhelmed by wealth and fame, George Dyer kills himself.
The special thing about this evening – in addition to the virtuosity, with the… Robert Wilson Mastering the lighting, make-up, costumes, text and meticulously planning every detail on stage is the acting art of Christian peacel. Apart from a shadow that appears in a few scenes, he spends the evening all alone – singing, dancing and talking that it is a real joy. He pulls out many stops in his acting skills and doesn’t shy away from shows – Broadway sends its regards.
Christian Friedel shows acting skills at the highest level and is a congenial partner for Robert Wilsonwho probably entrusted him with this solo role for good reason. Robert Wilson commented on the actor as follows: “Christian Friedel is like a prism that contains many different personalities. He can be in or out of a situation, he can be the painter and the model. Like a small child whose emotions change from one moment to the next, he can jump back and forth between these different personalities in a matter of seconds. He knows stillness, he knows movement, he knows silence, he can produce a great sound and also the quietest one. He can embody tragic situations because he has mastered comedy as an actor.” *
The songs – apart from “Straßenkater” – all come from Christian Friedel and his band „Woods of Birnam“ (Texts by Alfred Douglas were used as a template and set to music) – and are also performed live by the actor. Great and always moments where you as a viewer can breathe deeply.
Because, regardless of the director’s opinion that you don’t have to understand everything, the evening is a great challenge and requires maximum concentration. The texts – some of them about tape from Darryl Pinckney spoken in English – are very associative and erratic and you quickly become overwhelmed by the linguistic diversity.
Here the actor Christian Friedel plays a special role in helping the audience see and hear the piece and giving them space for their own thoughts. He draws on the text’s flow of associations and asks himself, what does this have to do with me and the audience? What’s left of me? How relevant is my art? What does art actually mean to us? What is beauty?
There are no clear answers and the evening remains open to interpretation. The great art of the player is to internalize the formal structure of the production and its choreography from the outside and then add your own and deal confidently with the instructions. Not every actor succeeds – Christian Friedel already. And that is exactly what makes the evening so appealing and special – not simply subordinate to the text and the visual power of the production, but rather countering it with something of your own, playing with the elements and thereby taking the audience with you on this journey of images and ideas.
Divided into three parts – Prologue (song “Alley Cat” by Peggy Lee) and epilogue (song “Alley Cat” – arranged by Woods of Birnam) exclusive – is in the third person in the first part („Er just couldn’t distinguish between wrong and right. Like a street cat. Like an alley cat”*), in the second from the I (“I look for the one who made me in the confusion of tin tubes and dry brushes.”*) and in the third from the you (“Of you fill me with a desire to know everything about life.”*) spoken.
Here is a picture of loneliness: Christian Friedel, photo: Lucie Jansch
Songs, staged conversion breaks, video and film recordings – the director leaves out little. The well-rehearsed view of a lonely house in a snowy landscape (image of death) is impressive.
Thank you for a fantastic evening at the theater Robert Wilson and Christian Friedel. After these 90 minutes you will remember why you go to the theater, what art means to us and what makes it so valuable. However, theater and film can only be a springboard – we as viewers have to jump ourselves. Sold out performances and standing ovations for Christian Friedel and the team. No one wants to go to the theater anymore and the audience is dwindling. Quality is still in demand and prevails.
occupation
Dorian: Christian Friedel
Concept, direction, stage, lighting: Robert Wilson
Costume: Jacques Reynaud
Original composition: Woods of Birnam
Make-Up-Design: Manu Halligan
Sound design: Torben Kärst
Dramaturgy, musical advice: Konrad Kuhn
Dorian’s Shadow: Jeremiah Franken
Voice on the radio: Darryl Pinckney
PS The quotes * are taken from the program book for the performance.
Dates at the Dresden State Theater / Schauspielhaus:
27. + 28. + 29.12.2024
Duration: 1 hour 30 minutes — no break
This entry was written on November 17, 2024 at 6:59 p.m. and is in the category Authors, Books and Literature, Performance, Drama. You can also follow answers using an RSS 2.0 feed. Both comments and pings are currently closed.
What are the key themes explored through the intersection of the three narrative strands in “DORIAN,” and how do they enhance the audience’s understanding of the overall story?
What is the significance of the three narrative strands in the theatrical production “DORIAN”? How do they intersect and influence each other throughout the performance?
How does the role of Francis Bacon and his relationship with his model George Dyer contribute to the overall themes of the show? What messages or ideas do you think the director and playwright are trying to convey through their portrayal?
How does the acting of Christian Friedel and Robert Wilson play a role in making the production successful? What specific techniques or approaches did they use to connect with the audience and convey the complexity of the themes presented in “DORIAN”?
The use of music, song, and video in the play is quite extensive. What impact do you think these elements have on the overall mood and tone of the production? Can you describe any memorable moments or scenes that particularly stood out to you?
The show deals with themes of art, beauty, and their relationship to loneliness and isolation. What are your thoughts on these themes, and how do they resonate with your own experiences or perspectives? Do you see any parallels between the struggles of the characters in “DORIAN” and real-life artists or creators?
What challenges do you think modern audiences face in appreciating or engaging with avant-garde or experimental theater like “DORIAN”? How can we overcome these challenges and promote a greater understanding and appreciation of such works?
what does the future hold for ”DORIAN” and its creators? Are there any plans for future productions, collaborations, or adaptations?
