This rewriting by Jakob Nolte of The Tempest is as stormy as the title itself. Shakespeare's language is whirled about with relish, although the principle of the language is far more closely fused with the original than is the case with any other translation. Jakob Nolte has invented an artificial language that has grown out of the original and does not come across as affected or vain, but as playful and charmingly strange and odd as the inhabitants of this Shakespearean island themselves.
Nolte's overwriting is tender and unwieldy at the same time and it shines through the angular interlacing like a fascinating solitaire. The language constantly takes on a life of its own and eludes all reading and speaking habits. Just like the events on the island, the translation seems to be only something like an illusion and at the same time not. For it does exist, and it develops a fascinating beauty in its endless Anglicisms. What could do this play more justice than a language that, like the fantastic turbulence of this tempest, defies all laws?
Jakob Nolte, William Shakespeare
Der Sturm
Auftragsarbeit für das Deutsche Theater Berlin
UA: Neuübersetzung am 23. Juli 2022 · Deutsches Theater Berlin in Kooperartion mit den Bregenzer Festspielen · Directed by: Jan Bosse
Der Sturm
Nachtkritik
Nachtkritik
Dieser "Sturm" ist ironisch verklärt, genüsslich gespielt, sündhaft vergnüglich. Oder, mit Jakob Nolte ausgedrückt: solches Zeug als Träume sind gemacht von.
Der SrabdardUnd auch die grammatikalisch wie semantisch recht abenteuerlustige Übersetzung schmerzt nicht. Viel eher verneigt sie sich vor dem sprachlichen Wagemut Shakespeares.