Libretto 080203 BERLIN

8/6/2019 Libretto 080203 BERLIN

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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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4/38

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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7/38

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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8/38

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.



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



8


9/38

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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10/38

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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11/38

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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12/38

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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13/38

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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14/38

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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15/38

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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16/38

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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17/38

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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18/38

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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19/38

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


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 ?

19


20/38

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


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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21/38

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


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.


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


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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 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,


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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