Heiner Müller – Quartett. Material
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16 EUR, reduced 8 EUR |
Please book your ticket in advance online or at the box office in the Foyer. |
Stroboscopic effects are used in this piece. |
German |
Ground Floor, Hall 2 |
Belongs to: Endless Palace, Transform! |
Quartet. A hospital bed. A woman. A man (her carer). A pack of cards. Looking for the missing cards – a possible task and arrangement of the game. And a production in the theatre in the Palace, 1989, 35 years ago, that makes you think. – The power struggles of yesterday have been settled, both privately and politically, no victors in sight, only the memories still linger, the sentences in our heads, knocking in the sewerage system, in our own bodies. “Now we are alone / Cancer my beloved”.
Heiner Müller’s best-known play Quartett in a scenic experimental arrangement with Corinna Harfouch and Oscar Olivo.
Participants
Starring: Corinna Harfouch and Oscar Olivo
Sound: Hannes Gwisdek
Video: Roman Kuskowski
Director: Marcel Kohler / Corinna Harfouch
Dramaturgy: Kristin Schulz
Corinna Harfouch, born in Suhl, studied acting at “Hochschule für Schauspielkunst Ernst Busch“ in Berlin from 1978 to 1981. After graduating, Ruth Berghaus brought her to Berlin’s Theater im Palast (TiP) (1980 role of Lucie in Stella, 1981 Juliet in Romeo and Juliet, directed by Christoph Schroth). This was followed in 1982 by an engagement at the Städtisches Theater in Karl-Marx-Stadt and in 1983 at the Berliner Ensemble. She worked with Heiner Müller (e.g. as Lady M. in Macbeth 1982, Volksbühne Berlin) and appeared in his plays (e.g. in Germania Tod in Berlin, 1989). She has been a freelance actress since 1991 and has appeared in productions by Fritz Marquardt (Eyolf, 1995), Jürgen Gosch (Wer hat Angst vor Virginia Woolf, 2004, Die Möwe, 2008), Herbert Fritsch (Die Physiker, 2013; King Arthur, 2016), Jan Bosse (Herbstsonate, 2014), Stefan Kimmig (Wassa Schelesnowa, 2014), Anna Bergmann (Persona, 2018, Birthday Candles, 2022), Christian Weise (Macbeth, 2018; Queen Lear, 2022), Lily Sykes (Orlando, 2019; Annette, a heroine epic, 2022). Corinna Harfouch has received numerous awards for her theater work (including the 1996 Gertrud-Eysoldt-Ring, 1997 Actress of the Year – for her portrayal of General Harras in Des Teufels General, directed by Frank Castorf; Theaterpreis Berlin 2015). She has appeared in more than 80 film and cinema productions, including Treffen in Travers (1989, dir: Treffen in Travers (1989, directed by Michael Gwisdek), Das Versprechen (1994, directed by Margarethe von Trotta), Sexy Sadie (1996, directed by Matthias Glasner), Gefährliche Freundin (1996, directed by Hermine Huntgeburth), Das Mambospiel (1998, directed by Michael Gwisdek), Bibi Blocksberg (2002, directed by Hermine Huntgeburth), Der Untergang (2004, directed by:Oliver Hirschbiegel), Im Winter ein Jahr (2008, director: Caroline Link), Whisky mit Wodka (2009, director: Andreas Dresen), This is love (2009, director: Matthias Glasner), Guilias Verschwinden (2009, director: Christoph Schaub), Finsterworld (2013, director: Frauke Finsterwalder), Wer hat eigentlich die Liebe erfunden?(2018, director: Kerstin Polte), Lara (2019, director: Jan-Ole Gerster), Alles in bester Ordnung (2021, director: Natja Brunckhorst), Das Mädchen mit den goldenen Händen (2022, director: Katharina Marie Schubert), Was man von hier aus sehen kann (2022, director: Aron Lehmann), Der Junge dem die Welt gehört (2024, director: Robert Gwisdek), Sterben (2024, director: Matthias Glasner).Corinna Harfouch has also been honored with numerous awards for her film work, most recently receiving the German Film Award 2024 for Best Female Lead Role in Matthias Glasner’s Sterben.
Oscar Olivo, born 1981 in New York. 2003 Bachelor of Arts/Theater at Columbia University New York and 2008 Diploma at “Hochschule für Schauspielkunst Ernst Busch in Berlin”, Department of Puppetry. Since then he has been a guest actor and puppeteer in various productions, including at Nationaltheater Mannheim, St. Ann’s Warehouse, St. Pölten Festspielhaus, Staatstheater Stuttgart and Schauspielhaus Graz. From 2009/10-2015/16 he was a permanent member of the ensemble at Schauspiel Hannover. He then made guest appearances at various theaters, including the Deutsches Nationaltheater Weimar, Staatstheater Augsburg, Staatstheater Darmstadt and the Maxim Gorki Theater Berlin (with Tom Kühnel, Jörn Hintzer, Jakob Hüfner, Hans-Werner Kroesinger, Christian Weise and Yael Ronen). At Schauspiel Hannover, he worked under the direction of Lily Sykes in Orlando (2019) and in Annette, ein Heldinnenepos (2022) with Corinna Harfouch.
Marcel Kohler, born in Mainz in 1991, studied acting at the “Hochschule für Schauspielkunst Ernst Busch” in Berlin (2011 to 2015). He was a scholarship holder of the German National Academic Foundation. During his studies, he took on his first roles at the Deutsches Theater Berlin, where he was a permanent cast member from 2015-2023. He joined the ensemble of the Schaubühne Berlin for the 2023/2024 season. Recurring appearances at the Salzburg Festival. He has received several awards. Among others, he received the Daphne Prize, the O. E. Hasse Prize, the Alfred Kerr Actor Prize for the best performance by a young actor at the Berliner Festspiele’s Theatertreffen and was named Young Actor of the Year 2016.
Marcel Kohler works regularly as a director and set designer, for example at the Nationaltheater Weimar, Deutsches Theater Berlin and Theater Heidelberg. His productions have been honored in a retrospective at the “Faust Prize” and received the “Dr. Otto-Kasten-Preis” of the Intendant*innengruppe in 2021. They have also been invited to renowned festivals such as the Ruhrfestspiele, Mülheimer Theatertage, Fringe Festival Beijing/China, Gogol-Festival Kyiv/Ukraine, Festival di Spoleto/Italy or the Fiesad-Festival Rabat/Morocco.
Marcel Kohler has a close working relationship with the actress Corinna Harfouch. He has staged two monologues with her.
Marcel Kohler is the initiator and founding member of the “Neues Künstlertheater”.
Most recently, he received the “Berlin Art Prize” from the Akademie der Künste in 2023.
Kristin Schulz, *1975 in Jena, author and literary scholar, lives in Berlin. She has published prose (including Das Elsterneinmaleins, 2005) and poetry (including Gesammelte Fehlmärchen, 2014; Angewandte Verhältnisse, 2019). Most recently published: Hundert Arten auf den Wolf zu kommen (with illustrations by Helge Leiberg, 2021, awarded Picture Book of the Month by the German Academy for Children and Young People’s Literature). She heads the “Heiner Müller Archive / Transitraum” at Humboldt University in Berlin and also works as an editor, including of Thomas Brasch and Heiner Müllers (e.g. Müller MP3, Alexander Verlag Berlin, German Audiobook Prize 2012; Heiner Müllers: Warten auf der Gegenschräge. Collected poems 2014).
Roman Kuskowski has been working as a visual artist and technician in the theater and opera context for over 15 years. His passion for all forms of moving pixels, from classic camera work and video conception to 3D and generative moving images, characterizes his work in a wide variety of contexts.
Since 2016, Roman has been exploring the possibilities of AI in an artistic context and beyond. He is convinced that the fusion of creativity and technology opens up new horizons and revolutionizes our idea of art.
Roman sees it as his task to educate society about the far-reaching effects of AI and to drive the discussion forward.
Hannes Gwisdek alias Shaban lives in Berlin. There he has his studio, his headquarters, from where he composes, produces and experiments for theater, films, silent film evenings and the hip hop act “Käptn Peng”, among others for Die Känguru Verschwörung, Soundtrack Kino, director: M. U. Kling, 2022; Birthday Candles, Deutsches Theater Berlin, director: A. Bergmann 2022; Sukini, Album Schmetterlingskacke, Universal 2019; Hundert Songs, Die Staatstheater Stuttgart, director: R. Schimmelpfennig; 2019; D!E GäNG, Album 2, Oettinger 2019; Wer hat eigentlich die Liebe erfunden, Soundtrack, director: Kerstin Polte 2018; Persona Stadsteater Malmö/ DT Berlin, director: A. Bergmann 2018 (invited to the Berlin Theatertreffen); Käptn Peng und die Tentakel von Delphi, album Das nullte Kapitel; Kreismusik 2017; Pavlidis, album Identitetris, Kreismusik 2016; Der Herzerlfresser, Burgtheater (Akademie) Vienna, director: A. Wiegold 2016; Terror, Schauspielhaus Hamburg – Director: J. Bochow & R. Thiele 2016; Fräulein Julie, Theater in der Josefstadt, Director: A. Bergmann 2015 (nominated for Nestroy, best director); Der Auftrag, Staatstheater Hannover, Director: T. Kühnel & J. Kuttner 2015).