Bambiland
Jelinek’s protest play addresses the Guantanamo Bay detention camp and depicts physical and sexual violence.
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Jelinek’s protest play addresses the Guantanamo Bay detention camp and depicts physical and sexual violence.
A dramatic series of scenes from the lives of famous actors at Vienna’s Burgtheater portrays them as shallow, petty tyrants and charges the theatre’s past with collaboration with the Nazi regime.
In an anachronistic 1929 meeting, Clara and Robert Schumann encounter Gabriele d’Annunzio at his villa. Their confrontation exposes the pressures of money, artistic genius, and patriarchy that have subordinated Clara’s own creative life to her husband’s career.
A woman attempts to write about composer Robert Schumann. The play was published with two other works by Jelinek that also reference German classical composers.
Based on historical events, the play depicts the suffering of workers who built the large power plant at Kaprun. Nazi Germany used slave labor for the project, and construction after World War II was completed mainly by foreign workers.
Investors pursue ever-rising returns while bankers chase maximum turnover. Jelinek’s dark economic comedy follows their excess toward financial catastrophe, then the cycle’s swift return as crashes are followed by renewed speculation and million-euro adviser bonuses.
Refugees fleeing Africa reach Europe across the Mediterranean, where most are denied protection. Jelinek intertwines their modern experience with allusions to Aeschylus' The Suppliants, contrasting the ancient story's asylum granted to refugees with contemporary European policy and questioning the relationship between humanitarian ideals and human rights.
A theatrical examination of society’s obsession with sport as a publicly waged battle.
Nurse Emily leaves her fiancé after falling in love with Carmilla, a pregnant woman. Carmilla dies in childbirth and Emily turns her into a vampire; the women's male partners pursue them, while the play uses the vampire transformation to reverse patriarchal expectations about women's sexuality and motherhood.
Olga Neuwirth’s opera adapts David Lynch’s 1997 film into music theatre for singers, actors and live electronics. Its roles include Fred, Pete, Alice/Renee, Mr Eddy/Dick Laurent and the Mystery Man.
Vampire women Vampi and Bampi travel the world and attempt to stop a destructive King-President, portrayed as a grotesque ruler in an oval office. Gorgonzilla, a sea monster created by a nuclear accident, opposes the ruler but has an ambiguous role. The King-President’s adjutants Mickey and Tuckey are patterned after powerful technology executives. The work satirizes the danger that the ruler could destroy the world and the efforts to prevent it.
Jelinek follows Nora after she leaves her husband, tracing the social roles projected onto her as wife, mother, worker, lover, and businesswoman. Her attempt to escape an upper-class domestic role exposes how a small capitalist elite controls political and economic institutions, while her ambitions also entangle her in exploitation.
Jelinek’s protest play addresses the Guantanamo Bay detention camp and depicts physical and sexual violence.
A dramatic series of scenes from the lives of famous actors at Vienna’s Burgtheater portrays them as shallow, petty tyrants and charges the theatre’s past with collaboration with the Nazi regime.
In an anachronistic 1929 meeting, Clara and Robert Schumann encounter Gabriele d’Annunzio at his villa. Their confrontation exposes the pressures of money, artistic genius, and patriarchy that have subordinated Clara’s own creative life to her husband’s career.
A woman attempts to write about composer Robert Schumann. The play was published with two other works by Jelinek that also reference German classical composers.
Based on historical events, the play depicts the suffering of workers who built the large power plant at Kaprun. Nazi Germany used slave labor for the project, and construction after World War II was completed mainly by foreign workers.
Investors pursue ever-rising returns while bankers chase maximum turnover. Jelinek’s dark economic comedy follows their excess toward financial catastrophe, then the cycle’s swift return as crashes are followed by renewed speculation and million-euro adviser bonuses.
Refugees fleeing Africa reach Europe across the Mediterranean, where most are denied protection. Jelinek intertwines their modern experience with allusions to Aeschylus' The Suppliants, contrasting the ancient story's asylum granted to refugees with contemporary European policy and questioning the relationship between humanitarian ideals and human rights.
A theatrical examination of society’s obsession with sport as a publicly waged battle.
Nurse Emily leaves her fiancé after falling in love with Carmilla, a pregnant woman. Carmilla dies in childbirth and Emily turns her into a vampire; the women's male partners pursue them, while the play uses the vampire transformation to reverse patriarchal expectations about women's sexuality and motherhood.
Olga Neuwirth’s opera adapts David Lynch’s 1997 film into music theatre for singers, actors and live electronics. Its roles include Fred, Pete, Alice/Renee, Mr Eddy/Dick Laurent and the Mystery Man.
Vampire women Vampi and Bampi travel the world and attempt to stop a destructive King-President, portrayed as a grotesque ruler in an oval office. Gorgonzilla, a sea monster created by a nuclear accident, opposes the ruler but has an ambiguous role. The King-President’s adjutants Mickey and Tuckey are patterned after powerful technology executives. The work satirizes the danger that the ruler could destroy the world and the efforts to prevent it.
Jelinek follows Nora after she leaves her husband, tracing the social roles projected onto her as wife, mother, worker, lover, and businesswoman. Her attempt to escape an upper-class domestic role exposes how a small capitalist elite controls political and economic institutions, while her ambitions also entangle her in exploitation.