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
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
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.