But after it had all happened, there was
chaos here. And a room that had
been completely ruined, and in that room
there were four dead men and
a name! And a door bearing
an unintelligible inscription.
But all of you, just look
at the whole. Whatever happened, we
positioned it in time in the right
order at the right places and
in the right words, that were
indeed spoken. And whatever you will see,
see at the end, it is what we saw:
chaos. And a room that is
completely ruined, and in that room
four dead men and
a name. Or three men who walk out the door
to go arrange matters
that are important to mankind
and a dead man
who is not dead yet, and in front of him
a door bearing an unambiguous inscription.
Bertolt Brecht
Jolente De Keersmaeker, Sara De Roo, and Damiaan De Schrijver created in 2005 a follow-up to Alles is rustig, a play in which Bernhard fulminates against the complacency of the intellectual and cultural elite. Entitled “Redde wie zich redden kan’”geen slechte titel (“Devil Take the Hindmost’”not a bad title”– a line taken from Am Ziel, 1981) it is composed of several of Bernhard’s short Dramolette.Even more explicitly than in Alles Is Rustig Bernhard dissects in these ‘miniature dramas’ the complicated Nazi past the Austrian and German people never fully came to terms with and the latent fascism in contemporary society.
“Redde wie zich redden kan’ geen slechte titel is the second part of the Bernhard Trilogy.
In Dutch
text after ‘Dramolette’ ( Eis, A Doda, Match, Freispruch and Maiandacht ) by Thomas Bernhard
with Jolente De Keersmaeker, Sara De Roo and Damiaan De Schrijver
advice Matthias de Koning
costumes Inge Büscher
assistance costumes Filip Eyckmans
lighting design Thomas Walgrave
French translation Claude Porcell
many thanks to Martine Bom, Laurence D’Hondt and Gerhard Jäger
production tg STAN
coproducers of the French version KVS/Théâtre National (Brussels), Théâtre de la Bastille and Festival d’Automne (Paris)
premiere 16 February 2005, Kaaitheater, Brussels
premiere of the French version 17 October 2007, KVS/Théâtre National, Brussels
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