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Heiner Goebbels,Landschaft mit entfernten VerwandtenNach Texten und Motiven von Giordano Bruno, Arthur Chapman/Estelle Philleo, T.S.Eliot,
Franois Fnelon, Michel Foucault, Katharina Fritsch, Ernst Haeckel, Claude Lorrain, Henri
Michaux, Nicolas Poussin, Gertrude Stein, Diego Velzquez, Leonardo da Vinci, Sisley Xshafa
Libretto (italienisch/englisch/deutsch/franzsisch/spanisch/hindi)Version 08.02.2003 Berlin
I. A K T
ENTRADA w(1.Akkord)
NON STA VorspruchGiordano Bruno, dell Infinito, 3.Dialog
CHOR: w (2. Akkord)
Non sta, si svolge e gira
Quanto nel ciel e sott il ciel si mira. w (3. Akkord)
Ogni cosa discorre, or alto or basso,
Bench si n lungo o n breve,
O sia grave o sia leve;
E forse tutto va al medesmo passo
Ed al medesmo punto. w (4.Akkord)
SUITE I DELL INFINITO
The sirens
Stein, Wars, S. 125 (GS 20)
CATHY: The siren that warns for the bombardments is not
working any more, I suppose it was worn out as theysay here they have succeeded in putting it out of order,
but who they they are nobody knows and now the
Germans are to warn us by trumpeting but after all that
does not really wake one up if one is really asleep so
everybody prefers it, that is all everybody talks about is
bombardments and naturally nobody is pleased, and
whether the aim is good or not is hotly discussed, they
say they should not fly so high, though they do admit
that the precision of hitting is very great, neverthelessthey say if they flew lower there would be less
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destruction round and about and as the defence is
practically non-existent why not fly lower, others say
they should not bombard at all and everybody will hate
them and they did love the Americans but I said you
know how they are here the French forget the past andenjoy the present yes they answer but our towns and all
the dead, oh dear they say to me can you not stop them,
alas I say I hate to have lovely places all smashed up
and French people killed but what can I do, well they
say, anyhow it is going on so long so long, and
sometimes we that were most optimistic are getting
kind of pessimistic it is going on so long.
CHOR: so long
Gerade und Kreis
Giordano Bruno, Della Causa, 5.Dialog, S.110
DAVID: Sagt mir:
Was ist der graden Linie unhnlicher als der Kreis?
was dem Graden entgegengesetzter als das Krumme?
Dennoch stimmen sie im Princip
und im kleinsten Teile berein.
Denn welcher Unterschied liesse sich...
zwischen dem kleinsten Bogen
und der kleinsten Sehne entdecken?
Ferner im Grssten:
welcher Unterschied liesse sich
zwischen dem unendlichen Kreise
und der graden Linie finden?
Seht ihr nicht, wie der Kreis, je grsser er ist,
sich um so mehr mit seinem Bogen der Gradlinigkeit
nhert?
Wer ist so blind, dass er nicht she,
wie der Bogen, je grsser er wird,
und je grsser der Kreis,
dessen Teil er ist,um so mehr sich der graden Linie annhert,
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die durch die Tangente bezeichnet wird?
Hier muss man doch sicher sagen und glauben,
dass wie die Linie, je mehr ihre Grsse zunimmt,
um so mehr sich der Graden annhert,so auch die grsste von allen
im Superlativ mehr als alle andern grade sein muss,
so dass zuletzt die unendliche Grade
sich als der unendliche Kreis erweist.
Da seht ihr, dass nicht nur das Grsste und Kleinste in
einem Sein zusammentreffen,
wie wir fter ausgefhrt haben,
sondern auch im Grssten und im Kleinstendie Gegenstze eins und ununterschieden werden.
ABCD
Bruno, Dell infinito, 2.Dialog, WBG, S. 73
GEORG & CHOR: Erstens kann Unendliches
von Endlichem keine Einwirkung erleiden....
Dies zu prfen, setze man A
als ein Unbegrenztes, Bals ein Begrenztes,
und da jede Bewegung in der Zeit stattfindet, G
als die Zeit, in welcher A
eine Bewegung bewirkt oder erleidet.
Nehmen wir sodann einen Krper von geringerer
Gre an, den wir D
nennen, und diese Linie wirke auf einen andern
Krper, den wir zur Vervollstndigung der Proportion
als Heinfhren, in derselben Zeit G.
Dann wird es klar einleuchten, da die kleinere
Einwirkung des D
zu derjenigen des greren B
sich verhalten mu, wie das Leiden des Begrenzten H
zu einem begrenzten Teile von A,
der als
A Z
bezeichnet werde.
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Wenn wir nun das Verhltnis des ersten Einwirkenden
zum dritten Leidenden umtauschen mit dem Verhltnis
des zweiten Einwirkenden zum vierten Leidenden, so
erhalten wir die Proportion
D zu H gleich B zu A Z.Dies ist unmglich.
Ove dunque
Giordano Bruno, Dell Infinito, 3.Dialog, S.100(dt.)
CHOR: Ove dunque quel bellordine,
quell bella scala della natura,
per cui si ascende dal corpo pi denso
quale la terra,al lem crasso,
quale laqua
...
al chiaro
al pi chiaro
al chiarissmo?
Dal tenebroso
Al lucidissimo?
...dal gravissimo al grave
da questo al lieve,
dal lieve al levissimo,
indi a quel che non
n grave
n lieve?
Dal mobile al mezzo,
Al mobile dal mezzo...
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II. A K T
LES INACHEVS(TERRORORCHESTER)
DIALOGUE DES MORTS, LEONARD DE VINCI ET POUSSIN
Fnlon, Dialogues des morts
DAVID: Reprsentez-vous un rocher qui est dans la ct gauche
du tableau. De ce rocher tombe une source deau pure
et claire qui senfuit au travers de la campagne. Un
homme qui tait venu pour puiser de cette eau, est saisi
par un serpent monstrueux. Le serpent se lie autour de
son corps, et entrelace ses bras et ses jambes par
plusieurs tours, le serre, lempoisonne de son venin, et
ltouffe. Cet homme est dj mort. Il est tendu. On
voit la pesanteur et la roideur de tous ses membres. Sa
chair est dj livide. Son visage affreux reprsente une
mort cruelle.
FRANCK: Si vous ne nous prsentez point dautre objet, voil untableau bien triste.
DAVID: Vous allez voir quelque chose qui augmente encore
cette tristesse. Cest un autre homme qui savance vers
la fontaine: il aperoit le serpent autour de lhomme
mort. Il sarrte soudainement. Un de ses pieds
demeure suspendu. Il lve un bras en haut, lautre
tombe en bas. Mais les deux mains souvrent; elles
marquent la surprise et lhorreur.
FRANCK: Ce second objet, quoique triste, ne laisse pas danimer
le tableau, et de faire un certain plaisir semblable
ceux que gotaient les spectateurs de ces anciennes
tragdies o tout inspirait la terreur et la piti; mais
nous verrons bientt si vous avez...
DAVID: Ah, ah! Vous commencez vous humaniser un peu;
mais attendez la suite, sil vous plat, vous jugerezselon vos rgles quand jaurai tout dit. L auprs est un
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grand chemin, sur le bord duquel parat une femme qui
voit lhomme effray, mais qui ne saurait voir lhomme
mort, parce quelle est dans un enfoncement, et que le
terrain fait une espce de rideau entre elle et la
fontaine. La vue de cet homme effray fait en elle uncontrecoup de terreur. Ces deux frayeurs sont, comme
on dit, ce que les douleurs doivent tre, les grandes se
taisent, les petites se plaignent. La frayeur de cet
homme le rend immobile. Celle de cette femme, qui est
moindre, est plus marque par la grimasse de son
visage. On voit en elle une peur de femme, qui ne peut
rien retenir, qui exprime toute son alarme, qui se laisse
aller ce quelle sent; elle tombe assise, elle laisse
tomber et oublie ce quelle porte; elle tend les bras etsemble crier. Nest-il pas vrais que ces divers degrs de
crainte et de surprise font une espce de jeu qui touche
et qui plat?
FRANCK: Jen conviens. Mais quest-ce que ce dessin? Est-ce
une histoire? Je ne la connais pas. Cest plutt un
caprice.
DAVID: Cest un caprice. Ce genre douvrage nous sied fort
bien, pourvu que le caprice soit rgl, et quil ne
scarte en rien de la vraie nature. Sur le devant du
tableau, les figures sont toutes tragiques. Mais dans ce
fond tout est paisible, doux et riant.
FRANCK: Le ct gauche de votre tableau me donne de la
curiosit de voir le ct droit.
DAVID: Cest un petit coteau qui vient en pente insensible
jusques au bord de la rivire
FRANCK: Etn le ciel, comment lavez-vous fait?
DAVID: Il est dun bel azur, ml de nuages clairs qui semblenttre dor et dargent.
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FRANCK: Quy a-t-il dans le milieu de ce tableau au-del de cette
rivire?
DAVID: Une ville dont jai dj parl. On voit de vieilles tours,
des crneaux, de grands difices, et une confusion de
maisons dans une ombre trs forte. Les montagnes, de
figure bizarre, varient lhorizon, en sorte que les yeux
sont contents.
ET CEST TOUJOURSMichaux, Et cest toujours, aus: La vie dans les plies
DAVID: Et cest toujours le percement par la lance
lessaim de gupes qui fond sur loeil
la lpre
et cest toujours le flanc ouvert
et cest toujours lenseveli vivant
et cest toujours le tabernacle bris
le bras faible comme un cil qui lutte contre le
fleuveet cest toujours la nuit qui revient
lespace vide mais qui guette
et cest toujours la vieille sangle
et cest toujours lenseveli vivant
et cest toujours le balcon croul.
Le nerf pinc au fond du coeur qui se souvient
loiseau-baobab qui fouaille le cerveau
le torrent o ltre se prcipite
et cest toujours la rencontre dans lorage
et cest toujours le bord de lclipse
et cest toujours derrire la palissade des cellules
lhorizon qui recule, qui recule...
SUITE II - TISCHGESELLSCHAFT
In the 19th century
Stein, Wars, S. 10 (GS3)
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CATHY There was nothing more interesting in the nineteenth
century than little by little realising the detail of natural
selection in insects flowers and birds and butterflies
and comparing things and animals and noticing
protective colouring nothing more interesting, and thismade the nineteenth century what it is, the white man's
burden, the gradual domination of the globe as piece
by piece it became known and became all of a piece,
and the hope of Esperanto or a universal language.
SUE Here we can see every night
when the moon is bright
EVA In the nineteenth century, there was reading, there wasevolution, there were war and anti-war which were the
same thing, and there was eating. Even now I always
resent when in a book they say they sat down to a
hearty meal and they do not tell just what it was they
ate.
SUE Here we can see every night
when the moon is bright
and even when it is not,
we cannot see them but we hear them, they hum and
then from time to time they drop a light and they give
us all a very great deal of delight. And why.
Because they are going to drop bombs on the Italians.
Anybody can like an Italian but just the same we can
have a great deal of pleasure in hearing all these
airplanes hum and see them drop lights on their way to
bomb Italians. Why we all say do they not give in. Not
so exciting perhaps but more useful, useful that is if
you want to go on living in a country has not been
overwhelmed by destruction.
Last Night
SUE Here we can see every night
when the moon is bright
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Last night just before the airplanes came there was a
complete eclipse of the moon, the shadow of the earth
fell on the moon,
none too soon
and then slowly it passed away, it was very nice, butnone of the newspapers and none of the radios
mentioned it. Eclipses are an amusement for peace-
time and yet all the same said my neighbour, she is a
country-woman, it makes one think of all those worlds
tourning around and around. Yes I said it is more
terrifying even than war. Yes she said.
And it was
twelve o'clock at night
and the moon was shining bright againand we went to bed and a little after we heard the
airplanes humming and we saw the lights dropping and
then we shut out the moonlight and then we were
sleeping. All this is an introduction to the nineteenth
century feeling about science.
CATHY Stars are not really more than just what they look like.
If they are then are they really realer than war. It is just
that that makes the twentieth century, know what
science teaches and whether it is or whether it is not
what science teaches, since war is really and therefore
it is what it is, that is everybody gets to meet anybody
friends and enemies we have then now enemies in the
house and in the barn, and it does not make any
difference about the stars and it does not make any
difference about war, only really it does make a
difference about war seeing the trains pass with the
enemy on them yes it does, but the stars whether they
are what they look like or what science teaches, does it
make any difference and anybody can answer that it
does not.
La Nuit
Michaux, Les travaux de Sisyphe, aus: Apparitions (1946)
DAVID: La nuit
est un grand espace cubique.
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Rsistant.
Extrmement rsistant.
Entassement des murs
et en tous sens,qui vous limitent,
qui veulent vous limiter.
Ce quil ne faut pas accepter.
Moi,
je nen sort pas.
Que dobstacles pourtant jai dj renverss.
Que des mursbousculs.
Mais il en reste.
Oh!
Pour a, il en reste.
En ce moment
je fais surtout la guerre des plafonds.
Les votes dures
qui se forment au-dessus de moi,
car il sen prsente,
je les martle,
je les pilonne,
je les fais sauter,
clater,
crever,
il sen trouve toujours dautres par derrire.
A coup de pic,
je lventre,
puis jventre le suivant.
De cave en cave,
je descends toujours,
crevant les votes,
arrachant les tais.
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Je descends imperturbable, infatigu par dcouverte de
caves sans fin dont il y a un nombre que depuis
longtemps jai cess de compter,
je creuse,
je creuse toujours
Je descends
sans faire attention rien,
en enjambes de gant,
je descends des marches comme celles des sicles
et enfin, au del des marches,
je me prcipite dans le gouffre de mes fouilles,
plus vite,plus vite,
plus dsordonnment,
jusqu buter sur lobstacle final,
momentanment final,
et je me remets dblayer
avec une fureur nouvelle,
dblayer,
dblayer,
creusant dans la masse des murs
qui nen finissent pas
et qui mempchent de partir du bon pied.
Mais la situation un jour,
se prsentera diffrente,
peut-tre.
SUITE III DERWISCHE / EMPLIE DE
Michaux, Emplie de, aus: La vie dans les plies
DAVID(CD): Emplie de moiEmplie de toi.
Emplie des voiles sans fin de vouloirs obscurs.
Emplie de plis.Emplie de nuit.
Emplie des plis indfinis, des plis de ma vigie.
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Emplie de pluie.
Emplie de bris,
de dbris,
de monceaux de dbris.
De cris aussi,
surtout de cris.
Emplie dasphyxie.
Trombe lente.
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III. A K T
SUITE IV TRIUMPHMARSCH
Coriolan / Puppen
T.S.Eliot, Triumphal march I. Coriolan, aus: The complete Poems and plays
TUTTI Stone,
bronze,
stone
steel,
stone,
oakleaves,
horses` heels
Over the paving.
And the flags.
And the trumpets.
And so many eagles.
DAVID: How many?
TUTTI Count them.
DAVID: And such a press of people.
TUTTI We hardly knew ourselves that day,
orknew the City.
This is the way to the temple,
and we
so many crowding the way.
So many waiting,
DAVID: how many waiting?
what did it matter, on such a day?
Are they coming?
TUTTI No,not yet.
You can see some eagles.
And hear the trumpets.
DAVID: Is he coming?
We can wait with our stools and our sausages.
TUTTI Here they come.
What comes first?
Can you see?Tell us,
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DAVID: It is
5,800,000 rifles and
carbines,102,000 machine guns,
28,000 trench mortars,
53,000 field and heavy
guns,
I cannot tell how many projectiles, mines and
fuses,
13,000 aeroplanes,
24,000 aeroplane
engines,50,000 ammunition
waggons,
now 55,000 army waggons,
11,000 field kitchens,
1,150 field bakeries.
What a time that took.
Will it be he now?
No,
Those are the golf club Captains,
these the Scouts,
And now socit gymnastique de Poissy
And now come the Mayor and the Liverymen.
TUTTI Look
DAVID: There he is now,
TUTTI look:
DAVID: There is no interrogation in his eyes
Or in the hands, quiet over the horse`s neck,
And the eyes
watchful,
waiting,
perceiving,
indifferent.
TUTTI Now
DAVID: they go up to the temple.TUTTI Then
DAVID: the sacrifice.
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TUTTI Now
DAVID: come the virgins bearing urns,
urns containing
Dust
TUTTI DustDust of dust,
and now
CHOR/TUTTI: Stone,
bronze,
stone,
steel,
stone,
oakleaves,horses` heels
Over the paving.
TUTTI: That is all we could see.
But how many eagles!
and how many trumpets!
CATHY (And Easter Day, we didn`t get to the country,
So we took young Cyril to church. And they rang a bell
And he said right out loud, crumpets.)
SUE Dont throw away that sausage,
CATHY Itll come in handy.
SUE Hes artful.
Please, will you
Give us a light?
DAVID: Light
SUE Light
DAVID: Et les soldats faisaient la haie?
TUTTI ILS LA FAISAIENT.
Homme-BombeMichaux, homme-bombe, aus: Libert daction (1945)
DAVID: Non,
Non,
je nai pas dusine,
je nai pas doutils.
Je suis un des rares hommes-bombes.
Je dis rares, car sil en est dautres, que ne lont-ilsdclar un jour?
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Il est vrai, il demeure possible quil y en ait eu. Nous
sommes obligs quelque prudence.
Eclater, a peut tre dangereux, un jour, pense le
public.
Aprs tuer, les caresses.Quil dit, pense le public, mais sil demeure dans le
tuer, sil enfonce dans le tuer, sil ralise enfin le tuer
et le public, toujours magistrat en son me simple,
sapprte nous faire condamner.
Mais il est temps de me taire.
Jen ai trop dit.
A crire on sexpose dcidment lexcs.
Un mot de plus, je culbutais dans la vrit.
Dailleurs je ne tue plus. Tout lasse.Encore une poque de ma vie de finie.
Maintenant, je vais peindre, cest beau les couleurs,
quand a sort du tube,
et parfois encore quelque temps aprs.
Cest comme du sang.
SCHLACHTBESCHREIBUNGLeonardo, A. 111 r. , Schriften, S.187ff.
GEORG: Wie eine Schlacht darzustellen Ist.Zuerst wirst du den Rauch der Artillerie machen, der
sich in der Luft mit dem von der Bewegung der Pferde
und der Kmpfenden aufgewirbelten Staub vermischt;
diese Mischung wird dann so aussehen:
der Staub hat ja, da er zur Erde gehrt, ein Gewicht,
und obwohl er sich wegen seiner Feinheit leicht erhebt
und mit der Luft vermengt, kehrt er doch immer wieder
gern auf den Erdboden zurck,
der Rauch wird eine bluliche Farbe annehmen und derStaub wird zu seiner eigenen Farbe neigen.
Je tiefer die Kmpfenden in diesem Gewlk stecken,
desto weniger wird man sie sehen
und desto weniger werden sich ihre hellen und dunklen
Stellen voneinander unterscheiden.
Die Gesichter und die Gestalten und ihr Aussehen,
wirst du rtlich malen.
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Die Luft sei voller Pfeile, die in verschiedenen
Richtungen fliegen: der eine aufwrts, der andere
abwrts, der in gerader Linie, und hinter den
Geschossen soll ein wenig Rauch fliegen.
Du wirst auch ein Pferd machen, das seinen Reiter tot
hinter sich herschleift, und dahinter die Spur des durch
Staub und Schlamm geschleiften Leichnams.
Zu Fen der Kmpfer mache Waffen aller Arten:
zerbrochene Schilde, Lanzen, Schwerter und hnliches.
Tote wirst du machen, einige halb mit Staub bedeckt,
andere ganz.
Die Besiegten mache bla mit hochgezogenen
Augenbrauen, und die Haut darber sei schmerzlich
gekraust. Die hoch gewlbten Lippen sollen die oberen
Zhne freigeben, die Zhne so verteilt sein, da ein
Wehgeschrei entsteht;
Dann mache noch andere, die mit weit aufgerissenem
Mund schreiend fliehen.
Andere sollen sterbend die Zhne zusammenbeien,
die Augen rollen, sich die Fuste an den Leib drcken
und die Beine verdrehen.
Man knnte auch viele Mnner sehen, die alle
zusammen ber ein totes Pferd gefallen sind.
Auch einige Sieger
Und mache keinen ebenen Ort auer den mit Blut
gefllten Fustapfen.
CHOR: et ne faire aucun endroit plat, si ce nest les traces des
pas remplies de sang
SUITE V LAS MENINAS
Did it really happen 1Stein, Wars, S. 10 (GS3)
CATHY
well anyway the nineteenth century liked to cryliked to try
liked to eat
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liked to pursue evolution
and liked war,
war and peace peace and war and no more.
SUE& CHOR When I was then I liked revolutionsI liked to eat
I liked to eat
I liked to crynot in real life but in books
and in real life there was nothing much to cry aboutbut in books
oh dear me,
it was wonderful there was so much to cry aboutand then there was evolution.
Evolution was all over my childhood,walks abroad with an evolutionist and the world was
full of evolution,
biological and botanical evolution,
with music as a background for emotionand books as a reality,
and a great deal of fresh air as a necessity,
and a great deal of eating as an excitementand as an orgy,
and now well just then there was no warno actual waranywhere.
Did it really happen 2Stein, Wars, S.110 (GS 18)
CATHY 1. Did it really happen,
oh yesshe said,
it does happen
and it did happen.
Well so
life goes on,
CATHY 2. we had just been reading Shakespeare Richard theThird,
andand the things they say there do sound
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just like that,
FRAUEN so why not,
CATHY anything is so
if the country makes it so,
and a century makes it sowhen it is so,
just like that.
FRAUEN just like that.
CATHY 3. Did it really happen ?FRAUEN oh yes
she said,
CATHY it does happen
FRAUEN andCATHY and it did happen.
Well
FRAUEN so
life goes on,
FRAUEN 4. we had just been reading Shakespeare Richard theThird,
and
andthe things they say there do soundjust like that,
so why not,
anything is so
if the country makes it so,
and a century makes it so
when it is so,
just like that.
Just like that.
CATHY 5. history does repeat itself,I have often thought that that was the really
soothing that history does.
The one thing that is sure and
certain is that history does not
teach, that is to say,
it always says let it be a lesson to you
but is it ?
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FRAUEN 6. Not at allCATHY Not at all
because
circumstances always alter
cases and soalthough history does repeat itself
it is only because the repetition
is soothing that
anyone believes it,
FRAUEN 7. nobodyCATHY nobody wants to
learn either by their own or anybody
else's experience,
FRAUEN nobody does,
CATHY no
they say they do but no
FRAUEN nobody does.
CATHY Yes
FRAUEN nobody does.
FRAUEN 8. we had just been reading Shakespeare Richard theThird,
and
andthe things they say there do soundjust like that,
so why not,
anything is so
if the country makes it so,
and a century makes it so
when it is so,just like that.
Just like that.
Les suivantes
Aus: Michel Foucault, les mots et les choses
VALENTIN: El pintor est ligeramente alejado del cuadro. Lanza una
mirada sobre el modelo; quiz se trata de aadir un
ltimo toque, pero tambin puede ser que no se haya
dado an la primera pincelada. El brazo que sostiene elpincel est replegado sobre la izquierda, en direccin de
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la paleta; est, por un momento, inmvil entre la tela y
los colores.
Esta mano hbil depende de la vista; y la vista, a su vez,
descansa sobre el gesto suspendido. Entre la fina puntadel pincel y el acero de la mirada, el espectculo va a
desplegar su volumen.
Tomando un poco dedistancia, el pintor est colocado al
lado de la obra en la que trabaja. Es decir que, para el
espectador que lo contempla ahora. El cuadro est vuelto
de espaldas; lo puede percibirse el reverso con el
inmenso bastidor que lo sostiene. En cambio, el pintor es
perfectamente visible en toda su estatura.
El pintor fija un punto invisible, pero que nosotros, los
espectadores, nos podemos asignar fcilmente ya que
este punto somos nosotros mismos: nuestro cuerpo,
nuestro rostro, nuestros ojos. As, pues, el espectculo
que l contempla es dos veces invisible;
porque no est representado en el espacio del cuadro y
porque se sita justo en este punto ciego, en este recuadro
esencial en el que nuestra mirada se sustrae a nosotros
mismos en el momento en que la vemos.
Desde los ojos del pintor hasta lo que ve, est trazada una
lnea imperiosa que no sabramos evitar, nosotros, los
que contemplamos: atraviesa el cuadro real y se rene,
delante de su superficie, en ese lugar desde el que vemos
al pintor que nos observa; este punteado nos alcanza
irremisiblemente y nos liga a la representacin del
cuadro.
FRANCK: Nul regard n'est stable. Et la grande toile retourne l
l'extreme gauche du tableau exerce l sa seconde
fonction: obstinment invisible, elle empche que soit
jamais reprable ni dfinitivement tabli le rapport des
regards. Parce que nous ne voyons que cet envers, nous
ne savons qui nous sommes, ni ce que nous faisons.
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Les autres personnages du tableau sont pour la plupart
tourns eux aussi vers ce qui doit se passer en avant.
La frise qui occupe le premier et le second plan du
tableau reprsente, - si on y comprend le peintre - huitpersonnages. Cinq d'entre eux, la tte plus ou moins
incline, tourne ou penche, regardent la
perpendiculaire du tableau. Le centre du groupe est
occup par la petite infante, avec son ample robe grise et
rose.
KENHA HI KYA (hindi) wird nicht ber setzt!!!
JAGDISH: (gesprochen)kahanaa hii kyA ye nain jo ek anjaanse jo mile
chalane lage mohabbat ke jaise ye silasile
aramaan naye aise dil men khile jinako kahhI main nA jaanuun
vo hamase ham unase kabhI nA mile, kaise mile dil nA jaanuun
ab kyA karen, kyA naam len, kaise unhe main pukaaruun
B (gesungen)
kahanaa hii kyA ye nain jo ek anjaanse jo milechalane lage mohabbat ke jaise ye silasile
aramaan naye aise dil men khile
jinako kahhI main nA jaanuun
vo hamase ham unase kabhI nA mile,
kaise mile dil nA jaanuun
ab kyA karen, kyA naam len,
kaise unhe main pukaaruun
C kahanaa hii kyA ye nain jo ek anjaanse jo mile
chalane lage mohabbat ke jaise ye silasilearamaan naye aise dil men khile
jinako kahhI main nA jaanuun
vo hamase ham unase kabhI nA mile,
kaise mile dil nA jaanuun
ab kyA karen, kyA naam len,
kaise unhe main pukaaruun
D (instrumental)
E (gesungen)
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pahalii najar men kuchh ham kuchh tum ho jaaten hai yuun gum
naino se barasaae rim-jhim, rim-jhim hamape pyaar kA sAvan
sharm thoDii-thoDii hamako aaye to nazaren jhuk jaaen
sitam thoDaa-thoDaa hamape shok havaa bhI kar jaaye
aisI chalii aaNchal uDe dil men ek tuufaan uThe
ham to luT gaye khaDe hii khaDe
B (gesungen)kahanaa hii kyA ye nain jo ek anjaanse jo mile
chalane lage mohabbat ke jaise ye silasile
aramaan naye aise dil men khile jinako kahhI main nA jaanuun
vo hamase ham unase kabhI nA mile, kaise mile dil nA jaanuun
ab kyA karen, kyA naam len, kaise unhe main pukaaruun
A (instrumental)
E (gesungen)
in honThon ne maangaa saragam, saragam tU aur terA hii pyaar hai
aaNkhen DhUnDhe hai jisako har dam, har dam tU aur terA hii pyarr hai
mahafil men bhI tanhaa hai dil aise, dil aise
tujhako kho nA de Darataa hai aise, ye aise
aaj milii aisI khushI jhuum uThii duniyA ye merItumako paayaa to paaii zindagii
F kahanaa hii kyA
.
TEMPLE I (ORANGE)
IL Y A DES JOURS
Michaux, aus: Tels des conseils..., in: Qui je fus 1927 (Celan, IV, S.631)
GEORG & CHOR: Il y a des jours o je vois tout aplati
comme sur une toile,
et distance,
et quon me dise alors viens,
dabord un personnage dune toile parle-t-il?
et puis,attendez,
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attendez donc,
mon lme est en quenouille autour de ma colonne
vertbrale, et se drouler ne peut se faire dun coup. Il
me faut plusieurs heures.
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IV. A K T
LA FRONDE HOMMES
Michaux, La Fronde Hommes, aus: Libert daction (1945)DAVID: Jai aussi ma fronde hommes.
On peut les lancer loin,
trs loin.
Il faut savoir les prendre.
Cependant on les lance difficilement assez loin.
Pour dire vrai on ne les lance jamais assez loin.
Ils vous reviennent des quarante ans aprs parfois,
quand on se croyait enfin tranquille tandis
que cest eux qui le sont,
revenant du pas gal de celui qui ne se presse pas,
qui se serait trouv l encore il y a cinq minutes
et pour revenir aussitt aprs.
SUITE VI DE LA CAUSA
Just like thatStein, Wars, S. 105 (GS 18)
CATHY We spend our Friday afternoons with friends reading Shakespeare,
we have read Julius Csar, and Macbeth and now
Richard the Third and what is so terrifying is that it is
all just like what is happening now. Macbeth seeing
ghosts
well don't they,
is not Mussolini seeing the ghost of his son-in-law,
of course he is
you can see him seeing the ghost of his son-in-law, his last speech
showed that he did, and any of them, take the kings in
Shakespeare there is no reason why they all kill each
other all the time, it is not like orderly wars when you
meet and fight, but it is all just violence and there is noobject to be attained, no glory to be won, just like
Henry the Sixth and Richard the Third and Macbeth
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just like that,
just like that,
very terrible
very very terrible
and just like that.just like that
Minima und MaximaBruno, De la Causa, 5.Dialog, Meiner, S.112ff
DAVID:Wer wsste nicht,
>
dass das Princip der Wrme etwas untheilbares
und darum von aller Wrme geschiedenes ist,weil das Prinzip keines von den abgeleiteten Dingen sein darf?
>
Wenn dem so ist, wer kann etwas gegen die Behauptung einwenden,
dass das Princip
weder warm noch kalt ist,
sondern eine Identitt des Warmen und Kalten ist?
>
So ist denn ein Entgegengesetztes Princip des andern,
und die Vernderungen bilden deshalb einen Kreislauf nur dadurch,
dass es nur ein Substrat,
ein Princip,
ein Ziel,
eine Fortentwickelung
und eine Wiedervereinigung beider giebt.
>
Das Minimum der Wrme und das Minimum der Klte
sind durchaus eins und dasselbe;
>
Daher ist es offenbar, dass das Maximum und das Minimum
im Wechselspiel der Vernderung zusammentreffen.
>
Deshalb pflegen die Aerzte nicht ohne Grund grade bei der
vollkommensten Gesundheit besorgt zu sein;im hchsten Grade des Glcks sind vorsichtige Leute am
bedenklichsten.
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>
Ist nicht der letzte Rest des Zerstrten Princip des Erzeugten?
>
Gewiss, wenn wir recht erwgen, sehen wir ein, dass
Untergang nichts anderes als Entstehung
und Entstehung nichts anderes als Untergang ist:
>
Liebe ist eine Art des Hasses,
Hass endlich ist eine Art der Liebe.
die Liebe zu diesem ist der Hass gegen jenes.
>
Der Substanz und Wurzel nach ist alsoLiebe und Hass,
eins und dasselbe.
>
Woher entnimmt der Arzt das Gegengift sicherer als
aus dem Gifte?
Was liefert besseren Theriak als die Viper?
>
In den schlimmsten Giften die besten Heilkrfte.Wohnt nicht ein Vermgen zwei entgegengesetzten
Gegenstnden bei?
>
Nun, woher glaubst du denn, kommt dies, wenn nicht
davon, dass das Princip des Seins ebenso eins ist,
wie das Princip des Begreifens beider Gegenstnde
eines ist?
> Nicht zu reden davon,dass das Kugelfrmige auf dem Ebenen ruht,
das Concave im Convexen weilt und liegt,
>
das Zornige mit dem Geduldigen verbunden lebt,
dem Hoffhrtigsten am allermeisten der Demtige,
dem Geizigen der Freigebige gefllt.
>>>>>>>>>>>>>
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Stdte / maquettes / cities
You disappearSTEIN, WARS, S. 16 (GS4)
SUE Medival means, that life and place and the crops you
plant and your wife and children, all are uncertain.
They can be driven away or taken away, or burned
away, or left behind, that is what it is to be medival.
And now and here 1943,
it is just like that,
/you take a train,
/you disappear,
/you move away
/your house is gone,
/your children too,
/your crops are taken away,
/there is nothing to say,
/you are on the road,
/and where are they,
/if you go/there is nobody to say so,
/anything can come / and anything can go
/everything is all the same
/what can happen here
/can happen there,
/and what can happen there
/can happen anywhere
/and it does, - beside it does.
That was true in medival times too.
Wo?Giordano Bruno, Dellinfinito, 3.Dialog, S.100
GEORG&CHOR: Wo bleibt dann unsere schne Ordnung,
diese schne Stufenleiter der Natur,
auf der man emporsteigt
von der Erde,zum Wasser,
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zum Dampf,
zurLuft,
zum feinsten, zum Feuer,
Vom dunklen gar
zum weniger dunklen,zum hellen,
zum helleren,
zum hellsten?
Vom schwersten
zum leichten,
vom leichtesten,
zu dem, der weder schwer noch leicht ist?
Ich leugne nichtBruno, Dellinfinito, Meiner, S.101ff
DAVID: Ich leuge nicht die Unterscheidung...
+ CHOR aber ich leugne diese Rangfolge,
diese Anordnung,
d.h. da die Erde vom Wasser umgeben und bedeckt
sei,
das Wasser von der Luft,
die Luft vom Feuer,das Feuer vom Himmel.
Denn ich behaupte:
eins ist das Umfassende und Umfangende
all dieser Weltkrper und groen Maschinen,
die wir in diesem unermelichen Gefilde zerstreut
sehen,
und jeder dieser Krper,
jedes dieser Gestirne,jede dieser Welten ist aus dem,
was man hier Erde, Wasser, Luft und Feuer nennt,
zusammengesetzt;
nur da sie, sofern in der Art ihrer Zusammensetzung
das Feuer berwiegt, Sonnen heien
und eigenes Licht ausstrahlen,
sofern aber das Wasser vorwiegt,
Erden, Monde oder hnliche Gestirne sind,
die von den Sonnen ihr Licht empfangen.Auf diesen Sternen also
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oder Weltkugeln,
wie wir sie lieber nennen wollen,
sind verschiedenartige Teile von mannigfacher
Zusammensetzung nach Lage und Gestalt,
Felsen, Seen, Flsse, Quellen, Meere,Sandwsten, Metalle, Hhlen, Berge, Ebenen usw.
ebenso untereinander geordnet,
wie bei den Tieren die heterogenen Teile mit den
verschiedenen und mannigfaltigen Komplexionen
von Knochen, Eingeweide, Venen, Arterien,
Fleisch, Nerven, Lungen zu Organen und Gliedmaen
von dieser und jener Gestalt,
die auch sozusagen ihre Berge und Tler,
ihre Schluchten,ihre Gewsser,
ihre besonderen Lebensgeister
und ihre Wrme besitzen,
mit ganz hnlichen Vorkommnissen und
Empfindungen
fr alle meteorologischen Einflsse,
als z.B. Katharrhe, Ausschlag, Steinbildungen,
Schwindel, Fieber, Entzndungen
und unzhlige Dispositionen und Empfindungen,
die den Nebeln,
dem Regen und Schnee,
den Drren, den Blitzen, Donnerwettern und Erdbeben
im groen Krper entsprechen.
Krieg der Stdte /guerre / war
Musik: IV.3.3.01
On the roadStein, Wars, S. 69-70 (GS 10)
CATHY On the road I met a woman an oldish woman and we
were going the same way and we talked as we walked.
She said a little farther along she had a house but she
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did not live there. She had had a sister paralysed for
thirtyfive years who had lived there and she died two
years ago. She now lived with her brother-in-law
somewhere else, he was all she had but of course some
one stayed in the paternal house to take care of thechildren. Oh yes I forgot I had Basket on a leash
because on the road as there is a cement works there
are many trucks, of course there are quite a number of
automobiles, no German ones, French ones the French
always keep going somehow, well anyway I said I had
Basket on a leash because he having worms was a little
nervous he almost was run down by an automobile, so
I told her and I said a dog is so easily killed, yes she
said we had one at the paternal house and he wentblind and so we had to have him killed, and I said we
had a little dog we loved very much and he had to be
killed because he had diabetes, and is he dead she said
and I said yes, and she said it is different with
chickens, she said just the other day a camion came
along and he ran over one of our chickens and he did
not notice it he just went on but a little later anotherone came along and he noticed it and he stopped and
got down and gathered in the chicken and went on, just
then my nephew came out and saw him and as he went
away he noticed the number so a little later when the
camion came back again my nephew stopped him and
said you have to pay me for that chicken that is to say
not money I do not want money I want the chicken,
and the man said not at all I will pay you but I will not
give you the chicken and my nephew said he did not
want payment he wanted the chicken and the man said
he did not have it which was probably a lie but still
perhaps he had already eaten it, but anyway my
nephew said well I will take the money, no said the
other I am not paying you anything, why not said my
nephew, because I am not said the driver and my
nephew said well suppose you give it to the Red Cross
to make a package for a prisoner not at all said the
driver and he drove away and said I what did your
nephew do, I have no nephew she said I only have aniece that is to say I only have a father-in-law, that is
not my house where I live it belongs to my brother-in-
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law and just then our roads parted and we said good-
bye.
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On the radio
Stein, Wars, S. 79 (GS 12)
REFRAIN:
SUE A Everything is dangerous and everybody casuallymeeting anybody talks to anybody and everybody tellseverybody the history of their lives, they are always
telling me and I am always telling them and so is
everybody, that is the way it is when everything isdangerous.
SWANTJE A Everything is dangerous and everybody casuallymeeting anybody talks to anybody and everybody tells
everybody the history of their lives, they are alwaystelling me and I am always telling them and so is
everybody, that is the way it is when everything isdangerous.
FRAUEN Life and death and death and life. Life and death and
death and life. Life and death and death and life.
Stein, Wars, S. 105 (GS 18)
EVA B 1/2 That is what makes it so extraordinary, everybodylistens to the radio, they listen all day long becausealmost everybody has one and if not there is their
neighbour's and they listen to the voice from any
country and yet what they really believe is not what
they hear but the rumours in the town, by word of
mouth is always the most convincing, they do not
believe the newspapers nor the radio but they do
believe what they tell each other and that is natural
enough, all official news is so deceiving, so why notbelieve rumours, that is reasonable enough, and so they
do, they believe all the rumours, and even when they
know they are not true they believe them, at any rate
they have a chance of being true rumours have but
official news has no chance of being true none at all, of
course not.
BARBARA A Everything is dangerous
Stein, Wars, S. 10 (GS 3)
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CATHY B 3 Now they can do the radio in so many languages thatnobody any longer dreams of a single language, and
there should not any longer be dreams of conquest
because the globe is all one, anybody can hear
everything and everybody can hear the same thing, sowhat is the use of conquering, and so the nineteenth
century now in '43 is slowly coming to an end.
SUE (B3) So they go on, and all the radio stations interfere sothat nobody can hear any one and in the midst of all the
misery it is not childish but very small boyish. It is
strange the world to-day is not adult it has the mental
development of a seven-year-old boy just about that.
Dear me.
SOPRANSOLO that is theway itis when everything is dangerous.
Stein, Wars, S.101-102 (GS 16)
CATHY and anyway it is evening and nearly midnight and I
will be listening to the last news just before going to
bed again. It is funny the different nations begin theirbroadcasting I wish I knew more languages so that I
could know how each one of them does it. The English
always begin with this is London, or the B.B.C. home
service, or the overseas service. The Americans say
with poetry and fire, this is the voice of America, one
of the United Nations, speaking to you across the
Atlantic. Then the Frenchmen, say Frenchmen
speaking to Frenchmen, they always begin like that,
and the Belgians are simple and direct, they justannounce, radio Belge, and the national anthem, and
the Swiss so politely say, the studio of Geneva, at the
instant of the broadcasting station of Berne will give
you the latest news, and Italy says live Mussolini live
Italy, and they make a bird noise and then they start,
and Germany starts like this, Germany calling,
Germany calling, in the last war, I said that the
camouflage was the distinctive characteristic of each
country, each nation stamped itself upon its
camouflage, but in this war it is the heading of the
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broadcast that makes national life so complete and
determined. It is that a nation is even stronger than the
personality of any one, it certainly is so nations must
go on, they certainly must.
SUITE VII - LAST SUPPER
Out Where the West Begins
ENSEMBLE: Out where the world is in the making,
Where fewer hearts in despair are breaking,
That's where the West begins.
Where's more of singing and less of sighing,Where's more of giving and less of buying,
And a man makes friends without half trying--
Out where the West begins.
Out where the handclasp's a little stronger,
Out where the smile dwells a little longer,
That's where the West begins;
Out where the sun is a little brighter,
Out where the snows are a trifle whiter,Where the bonds of home are a wee bit tighter,
Out where the West begins.
Out where the skies are a trifle bluer,
Out where the friendship's a little truer,
That's where the West begins.
Out where a fresher breeze is blowing,
Out where there's laughter in streamlets flowing,
Where there's more of reaping and less of sowing,
Out where the West begins.
Je ne voyage plus.Michaux, Libert daction (1945)
DAVID Je ne voyage plus. Pourquoi que a
mintresserait les voyages?
Train Travelling
G.Stein, War I have seen
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Sue But to get back to train travelling more and more I like to
take a train I understand why the French prefer it to
automobiling, it is so much more sociable and of course
these days so much more of an adventure, and the
irregularity of its regularity is fascinating.
DAVID Ce nest pas a. Ce nest jamais a.
CATHY As I said we were going to Chambery and we got ready and
got to the station well ahead of time as is our custom and
with all our papers in order as our custom.
When we arrived at the station of course the train was not
there it never is and we had a long conversation with our
friend the gendarme who helps us get around and helps usget a goat, and helped us every way they help anybody
every day often to get away, they do do that.
Freight trainENSEMBLE: Freight train, freight train goin' so fast.
Freight train, freight train goin' so fast.
Please, don't tell what train I'm on,
so they won't know where I'm gone.
When I die, Lord, please bury me deep,
Way down on old Chestnut Street,
So I can hear old Number Nine
As she comes a-rolling by.
Freight train, freight train
When I am dead and in my grave,
No more good times here I'll crave,
Place the stones at my head and feet
And tell them all that I'm gone to sleep.
DAVID Je peux larranger moi-mme leur pays.
De la faon quils sy prennent, il y a
toujours trop de choses qui ne portent pas.
Ils se sont donn du mal inutilement, ces
New-Yorkais avec leurs gratte-ciels, si
faciles survoler, ces Chinois avec leurs
pagodes et leur civilisation de derrire les
fagots. Moi, je mets la Chine dans ma cour.
Je suis plus laise pour lobserver. Et ils
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nessayent pas de me tromper comme ils
font chez eux, aids par leur propagande
xnophobe. Ils font chez moi tranquillement
leur petit commerce. Largent passe, et
passe. a leur suffit, pourvu quil passe.Freight train, freight train... Ce nest pas moi non plus qui irais au Tyrol
ou en Suisse, risquer au retour une grve
des chemins de fer et des lignes ariennes et
de me trouver coinc comme un cencrelat
sous une semelle.
Pas si fou!
Les montagnes, jen mets quand a me
chante, o a me chante, o le hasard et des
complaisances secrtes mont rendu avidede montagnes, dans une capitale,
encombre de maisons, dautos et de
pitons prpars exclusivement la marche
horizontale et lair doucereux des plaines.
Je les mets l (pas ailleurs), en pleine
construction de briques et de moellons, et
les btiments nont qu faire place.
Freight train ... Dailleurs, ce sont des volcans, mes
montagnes, et fin prts cracher une
nouvelle hauteur en moins de deux. Ils
slvent donc entre les pts de maisons du
reste affreuses quils bousculent pour
prendre place, la place quils mritent. Ils
sont l maitenant.
Sinon, est-ce que je continuerais dhabiter
cette ville opaque? Est-ce que quelquun
continuerait dy habiter?
Non.
Sans cette invasion volcanique, la vie dans
une grande ville serait bientt
tout fait insupportable.
TEMPLE 2
DAVID: Principes que tout homme capable de raison peut apprendre:Il ne se donne point de visible sans lumire.
Il ne se donne point de visible sans moyen transparent.
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Il ne se donne point de visible sans terme.
Il ne se donne point de visible sans couleur.
Il ne se donne point de visible sans distance.
Il ne se donne point de visible sans instrument.
Ce qui suit ne sapprend point, ce sont parties du peintre.
Il faut commencer par la disposition,puis par lornament, le
decore, la beaut, la grce, la vivacit, le costume, la
vraisemblance et le jugement partout.
F I N I S O P E R A
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