11 Nov 2004 Schauburg München
Welcome to the mental home ‘Morgen Gestorben’. Here you can enjoy life undisturbed and you get a delicious bowl of soup at least twice a day. Your eccentric neighbours are endowed with a fertile imagination and you make friends for life. Folk dancing and singing lessons help to develop your inner self. We have the means and methods for taking away all your worries and we make it so much fun that you don’t even notice your own death.
Choreographer Andrea Boll was inspired by the novel ‘The Master and Margarita’ by the Russian writer Mikhail Bulgakov (1891-1940). Themes from this multifaceted literary masterpiece are used in a contemporary adaptation for dance and theatre.
In Morgen Gestorben there are several elements from the book: live in a madhouse, the destructive, yet purging, powers of the devil and his gang and the faustian love story of Margarita who uses all possible means to regain her loved one, the master. These three lines, each with a completely different atmosphere, alternate and run through each other.
Concept, direction: Andrea Boll
Choreografy: Andrea Boll
Choreografy assistant: Thomas Falk
Dramaturgy: Ira Judkovskaja
Performers: Andrea Boll, Andreas Denk, Klaus Jürgens, Jens Biedermann, Peter Kadar, Wiebe Gotink
Composition, musical coaching: Wiebe Gotink
Light design: André Pronk
Set design: Andreas Denk
Technics sound and video: Martin J.A. Lambeek
Technics light: Jaap Kooistra
Costumes: Françoise Magrangeas
Realization Set: Douwe Ket, Grand Theatre
Thanks to: Arne Sierens, Rik Krielaart, Kasper Janse/Pianolamuseum, Hanneke Kockx, Pierluigi Pompei, Martijn Fernández Córdobas, Pit Perrin.
‘The Master and Margarita’, on which Morgen Gestorben is based, takes place in Moscow in the 1930’s. This city, where the original street names were changed, where arrests and trials of ‘enemies of the people’ were daily routine and where all ties with the past, with history and religion, were broken, is visited in the novel by the devil and his henchmen. They leave a trail of confusion and destruction wherever they go. Devilish trickery is used to make important officials and cultural bigwigs look foolish and to oust them from their posts. The master in the novel is a writer, who reminds us of Bulgakov himself. He has retreated to the madhouse of Professor Stravinsky, after his novel about Pontius Pilate is turned down by the literary society. Margarita is his muse and the love of his life, who he does not want to drag down with him. She doesn’t take this lying down, enters into a pact with the devil, turns into a witch and manages to win back the master.
On 18 April 1930, the telephone rang in Moscow. Stalin phoned the desperate Russian writer Mikhail Bulgakov (1891-1940), asking the famous author if he might like to leave the country. Bulgakov answered that he, as a Russian writer, could not live outside Russia and the Russian language, and Stalin ended the conversation by saying that the petition which Bulgakov had sent to the Soviet authorities would have a positive result. Bulgakov already had many successful stories, serials, novels and plays to his name when he received the stamp of “ideologically unreliable”, in the early twenties. His plays were taken off the repertoire and his work could no longer be published. He could not find work anywhere, even as a reporter or typographer. In desperation, Bulgakov sent a letter to the Sovjet authorities announcing that he had burnt his novel about the devil (the original version). Following the telephone conversation with Stalin, Bulgakov received a position in the Moscow Arts Theatre and some of his plays were put on again. The Master and Margarita was only published long after his death, in the sixties, thanks to the efforts of his third wife, Elena.
Co-production by the Hans Hof Ensemble, Grand Theatre Groningen and Schauburg/Theater der Jugend Munchen, with financial assistance from the Rotterdamse Kunststichting, VSB fonds, and Wilhelmina E. Jansen Fonds.