At the end of the 1950s, Heiner Müller worked on a play commissioned by the Deutsches Theater about land reform and the collectivisation of agriculture in the early years of the GDR. The contradictions that he portrays in highly stylised language are confounding; the new era and the old way of life in the countryside coexist but remain irreconcilable. Müller is merciless in his portrayal of the protagonists, none of whom is spared from his scathing wit. And yet, particularly through the title figure, the outlines of a new person emerge, and of a different way of living together in solidarity.
The premiere of The Resettled Woman at the Hochschule für Ökonomie in Berlin-Karlshorst in 1961 became the biggest theatre scandal in the GDR. Müller was banned from the East German Writers’ Association and director B.K. Tragelehn was sentenced to work in a coalmine. It was not until 1976 that the play was allowed to be performed again in the GDR. Now, almost sixty years after its premiere, Tom Kühnel and Jürgen Kuttner bring The Resettled Woman to the Kammerspiele of the Deutsches Theater and transpose it into a time in which the questions posed by Müller’s text are just as disturbing than ever.
Cooperation with the Berlin University of the Arts
6 April 2019, Kammerspiele
Almut ZilcherFlinte 1, Beutlern, landlord
Linda PöppelCollectors of solle, Schmulka
Servan Durmaz*, Philipp Keßel*, Maral Keshavarz, Mathias Kleinschmidt, Dimitri Lauwers, Kei Muramoto*, Marie Schneider, Thai Thao Tran, Christine Wünsch (*Schauspielstudierende des Jahrgangs 2017 der Universität der Künste Berlin)Choir
Flinte 1, Beutlern, landlord
Collectors of solle, Schmulka
Servan Durmaz*, Philipp Keßel*, Maral Keshavarz, Mathias Kleinschmidt, Dimitri Lauwers, Kei Muramoto*, Marie Schneider, Thai Thao Tran, Christine Wünsch (*Schauspielstudierende des Jahrgangs 2017 der Universität der Künste Berlin)