AENIGMA_expose_2013

ead from rocks, and the Artist should celebrate Regent’s work and
the eternal “peace”. Through his physical suffering in the dungeon, the
Artist experiences a ritual initiation, a unification of the microcosms
and macrocosms, he pronounces the occult “Ich bin” and is able to
see the true nature of the dictator and tyrant, whose approaching
triumph is replaced by the roar of the collapsing spaceship. The
Regent is revealed as the Antichrist, and in his fall to the ground, he
sweeps the stars along with him. All three prisoners, hand in hand
(science + religion + art = anthroposophy) leave as brothers. The
affected, woodcut-like and flat characters are protagonists of the
anthroposophic albelief that only a spiritual life and art can function
as a counterbalance to the destructive and life-threatening powers
of “machine beeings”.
In Ullmann’s “Bühnenweihefestspiel”, the concept of anthroposophical
Gesamtkunstwerk and the Prague Jewish-German music culture in the
first half of the twentieth century reached its peak. The performance
in Olomouc will be the first scenic interpretation of The Fall of the
Antichrist in the Czech lands (in its original version) and will be staged
on the day of the seventieth anniversary of the author’s tragic death.
David Voda (Olomouc)
Reinhold J. Fäth (Apolda)
Lennart Lundström, post 1970