What's everyone's song
"Now it's time to cry!"
After more than 700 performances in a century is the Anyone still a central part of the Salzburg Festival's DNA and continues to write its history: a singular event in German-speaking theater.
Conceived as a revival of a medieval morality along the lines of the English one Everyman, enriched by Hecastus by Hans Sachs and other sources, Hofmannsthal writes for years in a Europe of culminating conflicts on his Anyone - Always in mind a possible implementation by Max Reinhardt. “Its real core was revealed more and more to be human absolute, not belonging to any particular period, not even inextricably linked to Christian dogma; only that an unconditional striving for the higher, the highest must come to the aid of man when all earthly loyal and property relationships prove to be apparent and soluble, is here brought into allegorical-dramatic form, and what more could there be for us ? “The thematic regression that Hofmannsthal describes here and which is neither temporally nor dogmatic, forms the ideological power center of the Anyone.
“At its core, the Anyone the question: what happens when death comes into life? Death has been repressed in our culture more than ever before in human history. We are increasingly trying to isolate ourselves from our finitude and confront ourselves with it as little as possible, but in the end it is clear to everyone: In order to lead a conscious life, it is necessary to find a reflective approach to death. This is fundamentally part of life. Humans have to deal with death at some point; he will not escape this confrontation. The mystery that surrounds this riddle of the death of man and his encounter with death exists in all religions and cultures. And since people have been singing and writing, producing art and pictures, this topic has preoccupied them.
This year we all became particularly aware of how quickly our life can look completely different, how suddenly all our plans are thrown overboard. Under these circumstances, it was important for us to make a political statement as well. Today it is essential to play and to gently open society to the common. We need community and art to develop as a society, especially in difficult times. What Anyone At all times it was and is: a piece for the people who sit in the audience and ask themselves how I think about my fate in my time. Our staging therefore aims at a contemporary reading. We pick people up in the present and try to touch them with a story that has great relevance at all times.
There is in the AnyoneLittle clues to the time, apart from the style of the language. Hofmannsthal's language, which dates from the turn of the 20th century, creates an artistic Middle Ages, something classicistic, a recreation of a different style, which of course says a lot about its own time. With the figure of Jedermann, which Hofmannsthal tailored to the rich man, he specifies this person. So will be Anyone to, game of the rich man's dying ‘. Despite this definition, everyone stands for everyone because everyone has to die, although Hofmannsthal’s everyone finds it particularly difficult to separate from the worldly. That is the culmination.
Significant part of the success of the Anyone in Salzburg, with which the festival was founded on August 22, 1920, the theater had a direct confrontation between the theater and the church, which also wants to negotiate the last things, that is, the encounter between the profane and the spiritual. With the Domplatz, Reinhardt found a place where he could let these poles collide and develop a great theatricality for himself. "
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