On artists, who move in the search for truth: a ‘genius’ composer, a ‘brilliant’ singer, a pianist, the impresario and the patron relocate their permanent dispute from the comfortable studio to an honest pub in the country. Following the traces of a suicide, they stumble into the mountains.
Despite all competition, they are united by the desire for a real concern, for true sight and normalcy. They are looking for contact with reality, but can’t do anything but rail against this reality. With their claims at omnipotence, they attack the discomfort of sociability both verbally and physically. At least the old peasant pays a high price for his excursion into the world of the artist.
Brutal lust and unbridled desire, absolute claims of ownership and massive provocation: in the end, back in the studio, there is a double murder that turns the relationships between the artists upside down and yet still leaves everything open.
Werner Schwab’s unique musical language reaches the pinnacle of the art of speech in Hochschwab. He juggles elements of cabaret and the absurd, auxiliary verbs and excess with equal measure. He unmasks the arrogance of the over educated, who ossify in their own egotism.
Hochschwab: Das Lebendige ist das Leblose und die Musik
3 D, 8 H, 2 Dek
UA: 09.06.1996 · Das Schauspielhaus, Wien · Directed by: Hans Gratzer