{"id":29,"date":"2009-02-02T23:22:30","date_gmt":"2009-02-02T22:22:30","guid":{"rendered":"http:\/\/www.susanneayoub.at\/?p=29"},"modified":"2022-03-21T15:58:35","modified_gmt":"2022-03-21T14:58:35","slug":"mittagsengel","status":"publish","type":"post","link":"https:\/\/www.susanneayoub.at\/en\/mittagsengel\/","title":{"rendered":"Midday Angels"},"content":{"rendered":"

A Play. Scenes from Gusen
\nPremiere Semaine du Th\u00e9\u00e2tre Autrichien \u00e0 Paris 2009<\/span><\/h3>\n

The quotations from letters, witness reports and historical documents are authentic.<\/p>\n

Prologue<\/p>\n

PROJECTION<\/p>\n

Advertising poster for the Topf company: \u201cOvens for Crematoriums.\u201d
\nThe image of an idyll. In the middle stands a chateau-like building. It is in a park, surrounded by trees. In the still water of the pond, the fa\u00e7ade is reflected.<\/p>\n

A man with clothes and hairstyle from 1939 dictates a letter:<\/p>\n

\"Steinbruch<\/a><\/p>\n

Man:<\/p>\n

Our company, Topf and Sons, founded in Erfurt in 1878, possesses great, unrivaled experience. In 1914 we began building cremation ovens and since then we have remained market leaders. The method of constructing our ovens complies superbly with the criteria of piety and legal regulations for a dignified cremation. Topf cremation ovens are smoke free and odorless. The body of the deceased is protected from the furnace flames and exposed only to the highly heated air. Care is taken to provide sufficient oxygen and ample time so that the corpse disintegrates into ultrafine ash. Interference with the process of cremation is ruled out. The remains of the deceased are always identifiable and can be interred individually.<\/p>\n

LIGHTS DOWN Music<\/em><\/p><\/blockquote>\n

The lyrical passages are taken from Jean Cayrol\u2019s book of poetry \u201cAlertes Aux Ombres,\u201d written in 1944-45 in Mauthausen-Gusen.<\/p>\n

\"Topf<\/a><\/p>\n

PROJECTION<\/p>\n

Fade-in. Images from a video camera. Subjective camera, recorded while walking, shaky.<\/p>\n

Road. Town sign: GUSEN. Early morning, dawn light. As the stage grows brighter, the film grows dimmer.<\/p>\n

Street. A tavern, closed. Menu board: FRIED POLLOCK with POTATO SALAD.<\/p>\n

In the window, an adage embroidered on linen: HE WHO DOES NOT WORK, NEITHER SHALL HE EAT.<\/p>\n

The girl Eve comes down the street. She stops, takes out a map, and studies it.<\/p>\n

Jean is standing by the tavern, reading the menu board. He looks at Eve. She notices him.<\/p>\n

Jean: Good morning.<\/p>\n

Eve: Good morning. Gusen, that\u2019s the name of the river I slept by last night. This village is called Gusen too. But I can\u2019t find it on the map.<\/p>\n

Jean: The town of Gusen is only rarely mentioned.<\/p>\n

Eve casts an alert glance at him, but she doesn\u2019t ask for an explanation and he says no more.<\/p>\n

Jean: Are you traveling?<\/p>\n

Eve: I\u2019m walking. I\u2019ve come a long way.<\/p>\n

Jean: What\u2019s your destination?<\/p>\n

Eve laughs and shrugs her shoulders.<\/p>\n

Eve: A place that doesn\u2019t get mentioned. A voice I\u2019ve often heard in my sleep. Do you write poetry?<\/p>\n

Eve: Ein Ort, der nicht genannt wird. Eine Stimme, die ich schon im Schlaf geh\u00f6rt habe. Sie schreiben Gedichte?<\/p>\n

Jean smiles.<\/p>\n

Eve: It\u2019s nice here. Beautiful country. The river and the hills. A village you could fall in love with.<\/p>\n

Jean: The special thing about this place is the quarry.<\/p>\n

Eve: A quarry?<\/p>\n

Jean: The stone is granite. Gray and blue and smoke-colored, black and purple, it looks different in every kind of light. Sometimes you can see the color of blood, sometimes, when it snows.<\/p>\n

Eve: Do you live here?<\/p>\n

Jean: I\u2019ve been here a long time and won\u2019t ever leave. I used to think I could return to my homeland, which I yearned for, but then it turned out that I no longer have any place but this village. Since then I haven\u2019t fought against it.<\/p>\n

Eve: Your homeland?<\/p>\n

Jean: A city, the city I was born in, Bordeaux. Paris, I lived there for many years. But no night has passed without me coming back here.<\/p>\n

Eve: I know that city. Too bad we didn\u2019t meet earlier. Bordeaux. I noticed something odd there, a mirage. Of a church. Noontime, an antique market. I ate couscous with lamb and drank wine. Maybe I drank too much wine. It was called Concorde. And then I saw something, a figure, maybe of a woman. The people laughed at me. I\u2019ve forgotten what the church was called. Maybe it meant something significant. I you had been there \u2026<\/p>\n

Eve looks at Jean.<\/p>\n

Jean: I might have laughed too.<\/p>\n

Eve: And still you would have understood me.<\/p>\n

Jean: People often think that. But usually it\u2019s an illusion. There aren\u2019t many like Papa Gruber.<\/p>\n

Eve: How\u2019s that?<\/p>\n

Jean: People are no angels.<\/p>\n

Eve: No.<\/p>\n

Jean: Only some \u2026<\/p>\n

 <\/p>\n

Pause.<\/p>\n

 <\/p>\n

Eve: What\u2019s your name?<\/p>\n

Jean: Jean.<\/p>\n

Eve: I\u2019m Eve Marie.<\/p>\n

Jean: Bon jour, Eve Marie.<\/p>\n

Eve: Farewell, Jean.<\/p><\/blockquote>\n

 <\/p>\n

\"Alerte<\/a>7. Szene. Collage von Ton \u2013 Licht \u2013 Wort<\/strong><\/p>\n

PROJEKTION Im Steinbruch.<\/p>\n

Der Filmstill bleibt blass auf der Projektionsleinwand sichtbar.<\/p>\n

Hackenschl\u00e4ge, Eisen auf Stein. Ein Peitschenknall. Laufende Schritte. Schnelle Atemz\u00fcge. Wind rauscht.<\/p>\n

St\u00f6hnen, Fl\u00fcstern. Vielstimmig ein Wort: \u201eArbeit!\u201c Ein Kanon in verschiedenen Sprachen: deutsch, franz\u00f6sisch, polnisch, italienisch, fl\u00e4misch, holl\u00e4ndisch, russisch, serbokroatisch\u2026<\/p>\n

\u00dcber die dunkle B\u00fchne springen Lichtpunkte, Taschenlampe in der Dunkelheit, Reflexionen von Sonnenlicht.<\/p>\n

Eindringlich gemurmelte, unverst\u00e4ndliche S\u00e4tze. Dann Stille.<\/p>\n

DUNKEL. Eine Stimme:<\/p>\n

Stimme aus der Dunkelheit: Er schaute gern aus dem Fenster und beobachtete die Arbeiter im Steinbruch. Wenn er einen Moment der Unt\u00e4tigkeit feststellte, sprang er auf sein Motorrad und raste zu der Stelle hin. Schlendrian und Faulheit waren ihm verhasst. Wenn er den H\u00e4ftling erwischte, zog er ihn zur Verantwortung. Er besa\u00df ungemeine K\u00f6rperkr\u00e4fte. Mit einem Schlag ins Gesicht brach er gew\u00f6hnlich den Kiefer.<\/p>\n

Musik<\/p><\/blockquote>\n

Le Figaro, Vorank\u00fcndigung November 2009<\/h4>\n

Vendredi 20 novembre, c’est Anges de midi de Susanne Ayoub <\/strong><\/span>que l’on entendra. Une traduction de Henri Christophe (le nom de traducteur de Heinz Schwarzinger) d’un texte qui date de 2009. L’auteur est n\u00e9e \u00e0 Bagdad en 1956 et vit depuis six ans \u00e0 Vienne. C’est un auteur de romans, de po\u00e8mes, qui a \u00e9norm\u00e9ment \u00e9crit pour la radio comme pour le th\u00e9\u00e2tre, compos\u00e9 des sc\u00e9narios, donn\u00e9 des tribunes aux journaux. Une femme tr\u00e8s engag\u00e9e qui a fond\u00e9e sa propre compagnie de th\u00e9\u00e2tre, Trio et qui a \u00e9t\u00e9\u00a0r\u00e9compens\u00e9e par de nombreux prix.<\/em><\/span><\/p>\n

Mittagsengel avait sign\u00e9 un court m\u00e9trage, Mai \u00e0 Mauthausen qui s’inspirait de la m\u00eame figure, Jean Cayrol qui avait \u00e9t\u00e9 intern\u00e9 en 1944 \u00e0 Gusen, un camp de concentration pr\u00e8s de Mauthausen, comme jeune r\u00e9sistant. Prot\u00e9g\u00e9, cach\u00e9 par ses camarades co-d\u00e9tenus sous la table de l’atelier, il \u00e9crit. Cinquante ans plus tard, Jean Cayrol publie ces textes : Alerte aux ombres.<\/em><\/span><\/p>\n

C’est de ce destin et de ces textes que s’inspire Susanne Ayoub.<\/em><\/span><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

A Play. Scenes from Gusen Premiere Semaine du Th\u00e9\u00e2tre Autrichien \u00e0 Paris 2009<\/p>\n","protected":false},"author":3,"featured_media":374,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-29","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-theatre"],"_links":{"self":[{"href":"https:\/\/www.susanneayoub.at\/en\/wp-json\/wp\/v2\/posts\/29","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.susanneayoub.at\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.susanneayoub.at\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.susanneayoub.at\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.susanneayoub.at\/en\/wp-json\/wp\/v2\/comments?post=29"}],"version-history":[{"count":39,"href":"https:\/\/www.susanneayoub.at\/en\/wp-json\/wp\/v2\/posts\/29\/revisions"}],"predecessor-version":[{"id":3475,"href":"https:\/\/www.susanneayoub.at\/en\/wp-json\/wp\/v2\/posts\/29\/revisions\/3475"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.susanneayoub.at\/en\/wp-json\/wp\/v2\/media\/374"}],"wp:attachment":[{"href":"https:\/\/www.susanneayoub.at\/en\/wp-json\/wp\/v2\/media?parent=29"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.susanneayoub.at\/en\/wp-json\/wp\/v2\/categories?post=29"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.susanneayoub.at\/en\/wp-json\/wp\/v2\/tags?post=29"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}