Friedrich Schiller &
Kostüme Heide Kastler , ,
Musik Bert Wrede , ,
Licht Tobias Löffler , ,
Dramaturgie Götz Leineweber , ,
Regie Martin Kušej , ,
Bühnenbild Annette Murschetz , ,
Medina Sidonia Felix Kammerer , ,
Don Karlos Nils Strunk , ,
Domingo Johannes Zirner , ,
Der Großinquisitor Martin Schwab , ,
Parma Arthur Klemt , ,
Marquis von Posa Franz Pätzold , ,
Philipp II. Thomas Loibl , ,
Olivarez Tim Werths , ,
Elisabeth von Valois Marie-Luise Stockinger , ,
Mondekar Marta Kizyma , ,
viennese premiere
Szenenfoto Don Karlos

This father-son conflict with its great impact on world history occupied Friedrich Schiller from 1783 to 1787. In the course of these four years, it changed its aesthetic form several times, from a bourgeois tragedy to a so-called drama of ideas. It was first performed two years before the start of the French Revolution. With his characterisation of Posa, Schiller passes censure on the Enlightenment and shows how fragile idealism has always been and how dangerous noble causes are. The following years only strengthened his opinion. DON CARLOS has a hinge position of sorts within Schiller’s body of work: between Sturm und Drang and Weimar Classicism. It is a message from a time with a concept of politics less narrow than today that did not fail to factor in love.

Markus Lubej
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