Premier on April 12th, 2013 at Staatstheater Kassel
Double-Evening with Johannes Wieland's piece  „white noise tragedy“

fotos: chris haring, nils klinger

Lego Love

The Bacchanal is not only linked to the Dionysian principle, but also to the mythic realm. It is mythical in its promise to be more than the mere orgy: the banquet signifies more than the orgiastic experience. It transforms the partaking to taking part in the mythic ritual. From a profane perspective, the bacchanal not only allows to give oneself, but to give up the self – to sacrifice oneself, to perish – with skin and bones, to swoon, to die living, without being dead. What keeps us alive then is the knowledge of the ritual, the certainty that we return, the thought of dying again soon, to be ready for the next swoon. It is as if it were possible to get used to dying in order to give a voice to death, which we carry inside us, while we’re still alive to make him stutter, to make him tell his tale in small doses rather than raising his voice in an ultimate instance. This is the song of the bacchanal. Stuttering death is its choir. When the term Readymades is brought into play, it is as a translation of the ritual, which is already available, which does not need to be invented, but only taken up into our hand, to fill our holes: the ass, the mouth, the cunt. There, where we infuse life, wine, the tongue, food, the semen, so that the living can run from the picture of decay. What remains of nakedness then is not the naked body, but just the bare body.

Text: Andreas Spiegl
Translation: Oliver Stummer 

video: michael loizenbauer