The wards

from Wikipedia, the free encyclopedia
The
Burgtheater Vienna, 2015

Die Schutzbefohlenen is a linguistic work of art by Elfriede Jelinek from 2013 in which the Nobel Prize winner critically examines the prevailing refugee policy and its consequences. The original reading took place on September 21 in Hamburg, the world premiere as a play on May 23, 2014 in Mannheim. The Austrian premiere of the play took place on March 28, 2015 in Vienna's Burgtheater . The work received a lot of attention. In autumn and winter 2015, Jelinek updated her text with three attachments .

theme

The hyped human rights discourse in the contemporary mainstream of public talk is discussed. This is contrasted with a thematically related but positive outcome in the oldest traditional Greek tragedy and doubts that today's government policies of the EU states are still connected to the much-vaunted humanistic ideals of antiquity. In individual and choral voices, Jelinek exposes the current human rights violations by repeatedly letting archaic high-level language slide into ironic, among other things, when it comes to expressions of xenophobic greed and the "rule of the mighty gods of arbitrariness of the economy".

The text was written for Nicolas Stemann's production Commune of Truth at the Wiener Festwochen 2013, but was not used there.

Political events as a background

Protest camp in the Votive Church , 2012

Refugee protests in Vienna (2012)

On International Migrants Day , November 24, 2012, a group of asylum seekers arrived in front of the Votive Church in Vienna after a protest march lasting several hours from the Traiskirchen refugee camp in Sigmund Freud Park . They set up a protest camp, known as the Refugee Protest Camp Vienna , and demonstrated against inhumane conditions in the Traiskirchen reception center. "As their demands, the protesters named, among other things, basic services for all asylum seekers regardless of their legal status, free choice of whereabouts and the recognition of socio-economic reasons for fleeing in addition to the previously recognized reasons for fleeing." They also called for all interpreters to be replaced in Traiskirchen and for better meals. The demonstrators were supported by broad layers of civil society, including refugee helper Ute Bock and cabaret artist Josef Hader : “In a brief statement, Bock was annoyed that it should not be possible to find enough quarters to reduce the pavement in Traiskirchen . Because the money for it is there and the space too. Hader thought it was good that the refugees went to the inner city so that their problems could be brought into the focus of society. "The Ministry of the Interior rejected the criticism of the asylum seekers:" The accommodation in Traiskirchen was humane and the interpreters' services were okay. Corresponding criticism of the translators was recently even put into perspective by the aid organization Asyl in Not . ”The refugees were fed and provided with winter-proof clothing through donations. The asylum seekers sought out the Votive Church as a symbolic "shelter" because they believed that their voices were not heard for three weeks. The pastor of the church tried to get the asylum seekers to leave the church with the help of the police and Caritas. However, they stayed there.

Humanitarian Disasters (2012/13)

Hundreds of refugees from Somalia and Eritrea, who had made their way to Europe in boats from Africa, drowned in a boat accident in 2013 off the coast of the Italian Mediterranean island of Lampedusa , in the vicinity of which there had been many deaths in previous years. The survivors were sent to the north of Europe by the Italian authorities.

Flash naturalizations of celebrities (2006, 2009)

On the other hand, well-known and wealthy foreigners had received Austrian citizenship quickly and easily in the past few years, for example, despite the strict immigration guidelines

  • 2006 the opera singer Anna Netrebko and
  • 2009 Tatiana Borisovna Jumaschewa , the daughter of Boris Yeltsin , her husband Valentin Jumaschew, former head of the Russian presidential chancellery, and their daughter. The Austrian magazine News reported that the Yeltsin clan had given an address that was by no means appropriate to their status as their main residence for the year before naturalization, a run-down, rented house on a busy thoroughfare in Winden am See . No evidence was found for an official check as to whether the family ever actually lived there.

Content and style

Content and motifs

There is no plot in the play and there is no division into acts or scenes . A distinction can be made between 27 sections of text, each separated by a line leading . There are multiple thematic overlaps between the sections, so that no clear delimitation is possible.

Initial situation

Sections 1 to 4 focus on the current situation of the speakers, but also on the story of their family and their escape.

Discussion of values

Sections 5, 6, 7 and 8 focus on moral concepts such as human dignity , freedom of expression and sustainability , most of which are listed in the brochure of the Austrian Ministry of the Interior , which is aimed at migrants .

injustice

The unequal treatment of celebrities and nameless people in naturalization by the Austrian authorities is denounced in Section 9 with 14. In the case of Boris Yeltsin's daughter, referred to as the daughter in the text , the political and economic influence of the family are given as reasons, in the case of Anna Netrebko, in the text the other daughter , her voice and thus her fame.

Role of policy makers

Even in the first section, the refugees are compared with the mighty. Of these there are superordinate ones, “a president, a chancellor, a minister”, “the princes of this country”, but above all many subordinate ones, the “deputies of deputies”, and they shut themselves off (“but nobody wants it, not even a representative of a representative wants to hear it ”) against suffering. It is about "moral versus paragraph asylum law."

Role of religion

In the Viennese staging a white, narrow, ceiling-high cross shines out of the black stage background, "location and symbol, the echo room of an allegedly Christian society in which the calls of the wards go unheard." In the end, the light behind the cross has gone out , "The hope of Christian charity is gone."

Water as a motive

Water on stage:
The proteges , Burgtheater 2015

The terms water and sea are often found in the text, mostly they appear to the speaker as a deadly threat: "the sea is a hole, a gorge, a gorge" or "the sea does not carry us either". The Viennese production takes this up, the stage is flooded "ankle-high, a water basin"

Situation in the end

In the last section the hopelessness of the refugees' situation emerges: They are not tolerated in Austria, they are “a few pieces of meat, nothing more”.

Intertextual references and their function

Jelinek's “ Poetics of Intertextuality ” can be described as a process “that presupposes a weak concept of authorship and, in changing arrangements, stages the presence of foreign texts in one's own”. The text elements used are precisely edited. Jelinek's “ polemical attitude towards the literary canon [...] is primarily expressed in forms of distorting transformation”: passages in the source texts are replaced, broken by irony , metaphors taken literally. All of this is intended to "expose lower and violent layers of meaning in the cited material."

The author mentions the following references at the end of her text:

Aeschylus: The supplicants

The title of the oldest surviving tragedy, Aeschylus ' Die Schutzflehenden , is quoted verbatim shortly before the end of Jelinek's text; there are also further quotations, for example “Because bold speech never befits the unfortunate.” The starting point is this drama in which the daughters of Danaos ask King Pelasgos for protection and a right to stay. But at the end of the two texts, the situation of the refugees is very different. At Aeschylus the refugees from Pelasgos are warmly received and welcomed (“But you all, including the loyal maidservants / Go cheerfully to the well-kept city / ... The best of this, the most desirable for your mind / Is there! - You can choose yourselves I am the patron / and all citizens, whose vote the decision / passed. ”)“ Different principles are weighed, the protection of one's own against the obligation to help others. And Jelinek locates this in a situation of European refugee policy, where a decision is currently being made in favor of a principle that puts profit maximization far above humanitarian values. ”Jelinek's text ends with“ It will not happen. It is not. We are not there at all. We came, but we are not there. "

Living together in Austria. Values ​​that unite us

This is a brochure from the Federal Ministry of the Interior , State Secretariat for Integration, Vienna 2013 Jelinek takes up this text passage, for example, which is intended to serve as an example of the term fair play in the brochure : It's an exciting competition, the swimmers deliver a head-to-head race. The best thing comes at the end, however, when they - regardless of who emerges as the winner - express their mutual appreciation. Both swimmers fought according to the same rules and can therefore recognize each other's performance. In Die Schutzbefohlenen it becomes clear that this example is seen as a mockery of people who had to fight drowning in their escape.

Ovid: Metamorphoses

The metamorphoses refer to two stories of metamorphosis . On the mythological basis, Zeus first took the form of a particularly peaceful looking bull in order to be able to approach Europe and abduct her. On the other hand, after an affair with Io , he turned her into a silver cow in order to keep his infidelity a secret from his wife. This became suspicious and had Io guarded by the giant Argos , but Jupiter sent Hermes , who put him to sleep and killed him. Although Io was able to flee, the betrayed wife had her be chased around the world by cattle . The connection between Zeus and Io resulted in Epaphos , whose skin, according to Aeschylus, is black. Danaos is his great grandson.

In Jelinek's text, the two echoing myths are used by speaking of migrations across the Mediterranean , as many of today's refugees want to bring behind them: Zeus swam with Europe on his back from Phenicia in Asia to Crete in Europe , including Io fled across the Ionian Sea , later named after her , which is part of the Mediterranean. The cow appears several times, often with reference to the Yeltsin daughter ("the daughter, the European cow", "the Russian cow").

Martin Heidegger

Jelinek writes: “And a pinch of Heidegger must be there, because I can't do it alone.” In statements about her play Totenauberg she criticized Heidegger's view of home:

“The man as pure thinking, who at the same time usurps home against strangers. In contrast to the cosmopolitan, the Jew Husserl, who perceives the foreign as something enriching, the fascist philosopher Heidegger wanted, so to speak, to delimit and preserve what is his own from the foreign. [...] Heidegger is the one who speaks of this homeland to them that they own and ignore the uncanny. "

- Elfriede Jelinek

There is also a clear reference to Heidegger in phrases that contain Heidegger's term clearing of being , for example "so many of us will never arrive to struggle at the clearing of being." those set into the space of time and play, a tiny space in infinity. ”or“ We stand in the clearing of being, says the thinker ... ”, which Heidegger saw the poetic thinker or thinking poet in the center of being and identified with this role.

In addition, other texts found their way into Die Schutzbefohlenen :

Friedrich Holderlin

On Hyperion's Song of Destiny (1799) by Friedrich Hölderlin referred by Jelinek Aeschylus ironically linked to lines of the poem-end denominated in Hölderlin: "It disappear, drop it / to the other, the suffering people / Blindly from one / hour / like water thrown from cliff / to cliff, / year long down into the unknown ”, the last line of which Jelinek corrects to:“ like water, thrown from cliff to cliff, but no, from barrage to barrage. ”Holderlin's voice is next to the voices of the misanthropic greed bourgeois part of the choir, which presents the deformed, hypocritical human rights discourse - reshaped with Heidegger vocabulary - with many voices.

Franz Schubert (Text: Ludwig Rellstab)

The beginning of Franz Schubert's song “In der Ferne”, in which he set a poem by Ludwig Rellstab to music and which was included in the song cycle Schwanengesang (1828), reads: ... woe to those who flee, who pull out the world! Strangers by measuring, forgettable home, parent-hating ... . These verses, spoken by the daughter , Tatiana Borisovna Yumaschewa, are used by the following clause ... nonsense, so I don't belong to them, certainly not ... to clarify that there are definitely different classes of refugees. References to Schubert "can usually be found in Jelinek's work at points of the greatest hopelessness."

Rainer Maria Rilke

There is someone who has us in his hand, who has our fall in his hand ... that falls on Rilke's We All. / That hand falls. / And look at others: it is in everyone. / And yet there is one who holds this falling / infinitely gentle in his hands. Refers. The following at Jelinek clause ... and we probably also falls itself ... suppressed by the pun with the verbs fall and cases unlike in Rilke's poem a pessimistic image of God made.

Biblical references

References to the Bible can also be demonstrated. Verse 13 from chapter 10 of the Gospel of John is explicitly named : the hireling flees because he is a hireling and does not respect the sheep, because he is a hireling and does not care about the sheep, the stranger doesn’t care about the sheep . Jelinek refers here to the dubious circumstances of the naturalization of the Yeltsin daughter and thus suggests that Jumaschewa has nothing to do with Austria.

title

While Aeschylus' drama title Die Schutzflehenden focuses on the requests of the refugees, Die Schutzbefohlenen refers to the legal system: special protective regulations apply to persons in need of protection, such as young people or those who are defenseless because of illness and who are in custody . Their violation - for example through the mistreatment of those who are under protection - is a criminal offense. The title suggests that refugees who have placed themselves under the protection of the state deserve special protection.

The Wards - a Drama?

As in Totenauberg , there is no linear plot, no chronologically running time, no “stage space as a place”, no tension and no communication between characters. For drama-theoretical considerations, texts from post-dramatic theater must be based on the performances, as has been customary in drama theory since the end of the 20th century .

Speaking situation

"Formal basic structures of ancient Greek tragedy such as the choir and the messenger report are present in Jelinek's theater texts, constructing new forms derived from the historically sedimented elements." The events in the refugees' home countries and on the run are not represented on the stage by a for Conveys visible action to the viewer, but only indirectly: the speakers are messengers and witnesses.

Multiple is the text from moving to a monastery talk, about We have chosen a church and then a monastery chose us ... . The speaking situation can therefore be located in Vienna and can be dated to around March 2013, when the Servite monastery offered the refugees to take them in. While the people are mentioned at the beginning of Die Schutzflehenden and it is clearly recognizable in the play who is speaking, Jelinek has not divided the text into speakers in the published stage version either. For large parts of the text she has chosen the “perspective of a refugee we”. It is a "refugee suit choir, the Fortress Europe is reflected from the perspective of their marginalized", there are also the "Jelinek typical photo puzzles that perspective about ansatzlos in an AFD Central European -affines Besitzstandwahrer- We switcht".

In this monologue , the Austrians are addressed collectively, you and you are used as salutation pronouns . In some places, however, the speaking refugees take the position of the Austrians, repeating what they have heard from them, for example: Today you want blankets, water and food, what will you ask for tomorrow? Our women, our children, our jobs, our houses, our apartments?

Even an I does not always refer to an individual refugee, but sometimes arises from the assumption of a foreign perspective, for example as here with the Yeltsin daughter: "... and I am also sure that I and my security were ultimately paid for ... “So the question arises again and again:“ Who actually speaks when refugees recite an Austrian Nobel Prize winner who in turn - herself a member of the European gated community, writes from the perspective of a refugee community? ”

Language levels

The refugee choir speaks “in a highly artificial language, as always with Jelinek.” Colloquial expressions such as “rausscheißen” or the southern German-Austrian expression “wurst” for no matter contrast with high-level, sometimes antiquated expressions such as “Schlund”, “plead”, “ Grief ”or“ ... they don't last anyone. ”(In the sense of they don't arouse pity on anyone ). Jelinek “subverts her politically moralizing attacks using everyday language and puns. In this way they are broken and evade simplistic aesthetics. "An example of this is playing with the puny reference :" And the lack of the homeland reference , in which no one wraps us - we are not pillowcases, we just have our poor heads - that A lack of home can therefore still exist due to this reference. "

Even elements of the advertising language are alienated, such as the transformation of the IKEA - slogans Do you live yet, or do you live already? in ... she [Yumaschewa] resides, she already lives, but is not yet alive. or the transfer of the Zewa advertising slogan for cleaning cloths to a typical movement when using a smartphone .

As the examples show, this Jelinek text is "a (linguistic) educational project that uses foreign language material that has been preformed elsewhere in order to make the power relations frozen in language visible."

Emergence

The Wards is in connection with “Commune of Truth. Reality Machine ”in the staging by Nicolas Stemann , although at this point there was not yet a performance. Elfriede Jelinek had sent the text at Stemann's request, but only two weeks before the premiere. When the Hamburg Thalia Theater contacted Stemann because it wanted to set up an action in connection with Lampedusa in Hamburg to support the refugees at a time when the mood on site was "not yet so friendly" towards the refugees, came the wards into play. This initially led to a short-term original reading on September 21, 2013 in St. Pauli Church , where 80 refugees had found refuge, and later to a co-production between Theater der Welt , Holland Festival and the Thalia Theater in Hamburg.

Stage version

premiere
Further performances and productions
The Wards , Burgtheater 2015

Differences in the staging

The productions brought the tension created in the text between “we” and “you” to the stage in different ways.

Director Nicolas Stemann, who has already written the Jelinek texts Das Werk (2003), Babel (2005), Ulrike Maria Stuart (2006), About Animals (2007), the Contracts of the Merchant (2009) and the secondary drama Abraumhalde, plays a special role (2009) staged. His aim is to "transform Jelinek's texts into theater energy [...], to generate an energy field in which, with a little luck, something like truth can be captured." Stemann wants “the real struggle of the ensemble with the text during the rehearsal process is reflected in the performance”.

With Die Schutzbefohlenen , it was important to him to help those affected in the production to become visible, not to exclude them, but to let them play on the stage and have a say, as they would like to do in society. For the three premieres in Mannheim, Amsterdam and Hamburg, he had to work with three different groups of refugees for reasons of residence rights and each time he had to re-stage the corresponding parts of the play. At the Berlin Theatertreffen, the critics noted that Stemann made “one's own helplessness - as a person, as a theater maker -” the leitmotif and “wisely added self-reflection” to the text. At one point it would say: "We cannot help you, we have to play you."

Mannheim

For the Mannheim production, various options for portraying the refugees were tried out and rejected: German actors from the Stadttheater in the role of refugees appeared condescending, blackface was associated with racism , and refugees who played themselves were sat down the charge of exoticism . It was Stemann's intention to address these performance problems. In the performance, most of the choir members were refugees, who came from different institutions, but some roles were taken on by German amateur actors, “also for reasons of immigration law”, i.e. because of the lack of work permits. In Stemann's opinion, this watered down the political idea. "Apparently at the Mannheim premiere it still seemed as if it was not necessarily the intention of the production that the theater situation should be presented as very embarrassing and inappropriate for the conflict situation."

Hamburg

At the Thalia Theater there were only white actors in the ensemble. Unlike in Mannheim, the refugees belonged to a fixed group. They came from Africa and Asia , including Ghana and Afghanistan . Stemann described their behavior as "optimal, very committed and reliable". Stemann addressed the acting problems in such a way that in the end white actors with white masks stood on the stage. These admitted their failure with the sentence “We are Pöseldorfer .”, Which was exchanged for the motto “We are Lampedusa” fixed on a sign at the beginning. According to Stemann, Pöseldorf is one of the richest districts in Hamburg, where resistance against a planned refugee home arose in 2014. Pöseldorf is an example of a contradicting attitude in society: the foreign is at best accepted and respected as long as one is not directly confronted with it and has to give up one's own habits and privileges.

Following the performances, there was an opportunity to discuss, also with the participation of representatives from the city and refugee initiatives, which was very well received. The open question after the performance of what the piece meant for reality and what could be done for the refugees took a central position here. Already during the rehearsals, the real living conditions of the refugees became an issue when it came to paying them. Correct payment, which Stemann insisted on, would have violated the law. Eventually, the artistic director Joachim Lux obtained an exemption for this one piece, but the guidelines are unchanged. This entanglement of play and reality was incorporated into the production: At the premiere, Joachim Lux came on stage to present his point of view.

This production was invited to the Berlin Theatertreffen in 2015 and opened the renowned festival.

Bremen

The staging in Bremen provided the audience with adventure theater: when they came in, everyone was photographed individually and directed onto the stage. The brochure Coexistence in Austria mentioned by Jelinek as a source . Values ​​that unite us. was available in several copies, as well as its German counterpart. The members of the European Parliament were depicted on a curtain; and because MPs are representatives of their constituents, their faces were replaced by the spectator photos in the course of the play. The auditorium was initially occupied by life-size cardboard figures with refugee faces from daily newspapers, which were central elements of the staging: At first they wore refugee faces from daily newspapers. The actors then became visible between these stands. Every now and then figures fell over, one was also shredded. In the course of the performance, the refugees drove the audience from the stage into the auditorium, and finally the photos that were taken at the beginning were glued to the cardboard cutouts, which all ended up standing next to the shredder.

Freiburg

In Freiburg, Michael Simon focused on the linguistic level, which is why the stage was paved with word cards in block letters. “HEIMAT”, “RIGHT” and other abstracts covered the stage while the actors wore T-shirts with words like “escape” or “black” to show their reality. On the back wall of the stage, “SHE” and “WE” stood opposite each other. When the stage was dismantled and the boards turned over, the names, dates of birth and death of refugees who had tried to find a new home in Europe appeared on the back of the phrases.

Oberhausen

Director Peter Carp replaced the first person perspective with the third person , the “I” with the “she”, because “playing proxy with Jelinek's language can seem so inappropriate and artificial”. “What at Jelinek was originally the complaint of those affected becomes a conversation in a four-person society that divides conservative and libertarian positions in the public discussion about immigration and foreign infiltration. In order to symbolize the fate of those seeking protection, Carp puts a (silent) choir of refugees at the side of the four actors, young men in gray and black hooded looks from the 'international remedial class' of the Hans Sachs vocational college in Oberhausen . “Those affected are only represented on the stage when the lights come on again at the end and three of the young men tell the story of their own escape.

Vienna

Rigid shock, drowning, running away and depressive withdrawal as a reaction to the persecution in one's own country, four reaction patterns in one picture

Michael Thalheimer “exaggerates Jelinek's language games from forms of protest [...] into operatic, artistic”, confines himself to actors from the Burgtheater and “in the end only wins [...] a simple statement: 'Have mercy!'” He chooses “ only reduction in order to formulate a clear statement ”and avoids“ all breaks, confrontations and difficult approaches to reality ”. Thalheimer's focus is completely different from what Stemann had done a year earlier at the premiere. He chooses a “high culture solution”, “which Jelinek's sarcastic complaint about the inhumanity of European isolation tries to cope with with aesthetic rigor.” The refugees that the text deals with “do not appear. Neither in person nor in costume or style of play. ”Thalheimer describes the focus of his first Jelinek production as follows:“ In a very pragmatic way, I'm interested in choral music. (...) 16 great actors speak chorus. Of course, it had to be shortened so that it wasn't overburdened. We strive for perfection. "

Nuremberg

The director Bettina Bruinier neither focused on references to Austria nor on “a difficult folklore of alleged authenticity with this text.” She lets a seven-member choir speak and sing. The actors are at times all refugees with life jackets in bright orange, "Sometimes those who arrive and those who are there face each other, they are always individuals, but not necessarily characters."

Bochum

This production dispenses with the choir and uses thousands of tiny baby dolls as a metaphor for the misery of the refugees. The critic Martin Krumbholz came to the conclusion that the director was using the piece as a “play template in the best sense”, liberating “the immense text in every sense from the corset of philology” and making “theater out of it, theater total”, which was entirely in keeping with the spirit the author.

reception

"... the current refugee piece par excellence ..."

- Christine Doessel

“'Where will we be tomorrow and after? Where? Where? Where?' At first the question sounds hesitant, then louder and louder. Desperate. The Africans call it in their own language from different corners. It's getting quiet, very quiet. Although there are 400 people in St. Pauli. Many are sitting on the stone floor, most are standing. 'Please help us, God, please help us, our feet have stepped on their bank, but what happens now?' "

- Hamburger Abendblatt : Actors and refugees read 'Die Schutzbefohlenen'. By Hanna-Lotte Mikuteit, September 23, 2013

“With 'Die Schutzbefohlenen', Elfriede Jelinek wrote an angry chorus of lamentations about the misery of refugees who are looking for security in Europe. […] It's about Fortress Europe, which is a place of greatest uncertainty for most asylum seekers from countries in crisis and civil war. [...] A touching tone of lament only arises when Barbara Nüsse joins in and suddenly dark-skinned actors appear on stage with Thelma Buabeng and Ernest Allan Hausmann. The two counteract the choral efforts of the white-skinned colleagues, but then merge with the Thalia choir. "

- Der Spiegel : “Theater der Welt” starts with Jelinek: The catastrophe called Lampedusa. By Jürgen Berger, May 26, 2014

“But from the idea of ​​being a theatrical emergency force of Jelinek, which was once born during the performance of the 'Contracts of the Merchant', all that remains is reading the text from slips of paper and displaying imperfections. What should have a spontaneous effect has long since solidified into an art form that even appears complacent when it fails. "

- Die Welt : Refugees shouldn't flee to the theater. By Stefan Keim, May 27, 2014

“It [the German-speaking theater] is becoming more political, that has been evident for a long time. Plays about war, flight and displacement pile up on the stages and also mark Berlin's best list. For example with Elfriede Jelinek's 'Die Schutzbefohlenen' from Thalia Theater Hamburg: Director Nicolas Stemann shows Europe as a stage fortress and lets Lampedusa refugees perform alongside professional actors. "

- Christine Doessel

Continuation

  • Refugees who are organized in the group “Wij zijn hier / We are here” took part in the performance of the Holland Festival . In January 2015, Stemann implemented a follow-up project initiated by the refugees with them at the Frascati Theater in Amsterdam: the interviews that had actually taken place as part of their asylum procedures were reenacted on stage with reversed roles: the audience took on the role of the refugees, these the decision-makers played.
  • The Vienna Burgtheater is supporting the theater project with a fundraising campaign for the Caritas education fund, which finances German courses; In addition, there is a list of signatures from the most important Austrian human rights and aid organizations against the mass deaths in the Mediterranean in the theater foyer. Together with the Elfriede Jelinek Research Center, the Burgtheater organized the discussion event Elfriede Jelinek's 'Die Schutzbefohlenen' in October 2015 in the context of the refugee movement .
  • Under the direction of Sebastian Nübling , In our Name will be performed in the 2015/2016 season at the Maxim-Gorki-Theater in Berlin . After The Protectors of Aeschylus and The Protectors by Elfriede Jelinek. listed. The current political situation is thematized by interlinking the two texts: “What does it mean to want to join a community if it does not want you and rights are only granted to those who can afford it? What does this say more about the community itself? ”Nübling had the stage and rows of chairs removed, the actors wear everyday clothes and speak key sentences of the two pieces in the midst of the audience as“ loosely linked play material ”, followed by the minutes of a meeting of the Bundestag interior committee on the new regulations of the right to stay and deportation, which is "maliciously re-enacted". Satirical improvisation material also flows into the text collage. The multilingual ensemble, a trademark of the Maxim Gorki Theater, speaks Aeschylus' texts in Arabic, Serbian, Turkish and German. Not only does the game develop from the middle of the audience, but also the dialogue at the end, when each member of the ensemble speaks to the next.
  • As a combination of the pieces by Aeschylus and Jelinek, Die Schutzflehenden / Die Schutzbefohlenen will be performed at the Schauspiel Leipzig under the direction of Enrico Lübbe (premiere: October 2, 2015). The director does not use asylum seekers as actors. Since Jelinek did not allow scenes to be merged, but rather wanted them to be one after the other, the challenge was to combine the ancient text with the contemporary text: Lübbe uses props such as the white robes from the ancient drama, which in Jelinek's piece will then hang over the stage. Lübbe endeavors to make the ironic gesture of Jelinek's writing tangible. At the end, next to the choir on stage, a choir appears in the auditorium, making it clear that everyone is in the same boat. The current references, according to the director, became clear at every rehearsal. After the presentations, expert discussions took place, which were summarized in a research volume. They deal with Frontex , church asylum in Saxony, illegal immigrants in Italy or asylum in antiquity and the Middle Ages.
  • Under the title “Protected Orders perform Jelinek's Protected Orders”, people seeking protection from Syria, Afghanistan and Iraq performed the piece on April 14, 2016 in the full AudiMax of the University of Vienna according to the concept and directed by Tina Leisch and Bernhard Dechant. Depending on the source, 20–30 or 40–50 identities disrupted the performance, stormed onto the stage, waved flags, spattered fake blood, but were forced out without any injuries. The performers continued.

Radio play version

Die Schutzbefohlenen - radio play with: Jonas Minthe , Matthias Haase , Bettina Lieder , Christoph Jöde , Janina Sachau ; Sound: Peter Harrsch; Director: Leonhard Koppelmann ; Dramaturgy: Herbert Kapfer. Production: BR radio play and media art / ORF 2014.

  • As a podcast: BR radio play Pool
  • As an audio book: 1 CD (approx. 79 min.); edited by Katarina Agathos, Herbert Kapfer; intermedium records, c / o belleville Verlag Michael Farin, Munich 2014, ISBN 978-3-943157-62-8

References to other works by Elfriede Jelinek

The motifs of home and flight can already be found in the 1991 drama Totenauberg . There it is “the refugees coming from the formerly socialist East who pour into the country to share in prosperity and freedom”. The Gamsbärtler , "typified grotesques of the alpine inhabitants", vehemently oppose them, while they like to share their homeland with paying tourists for a certain period of time. Even in Totenauberg , not all parts of the speech are assigned to a specific person, so it is up to the director how the text on the topic of home in the second picture, Totenauberg (health) , is divided between the two chamois beards ; In Die Schutzbefohlenen , the director has to decide on the distribution of the entire text between the speakers.

The chorus is also characteristic of other Jelinek texts, such as Ein Sportstück , Das Werk , Bambiland , Rechnitz (Der Würgeengel) and Ein Sturz .

The interweaving of economics and politics , i.e. corruption , which is developed in Die Schutzbefohlenen above all using the example of the naturalization of the Yeltsin daughter, is also present in the stage essay Rein Gold (2012).

References to Jelinek's political commitment

"Working for minorities and those excluded from society (migrants, Jewish citizens, Roma, bisexuals and homosexuals) and taking a stand against right-wing extremism" characterize Jelinek's political commitment since the 1980s. She "supported organizations that stood up against xenophobia and racism (...) and criticized the tightening of the asylum legislation."

literature

Hamburg Symposium in January 2015
  • "Die Schutzbefohlenen" by Elfriede Jelinek and staged by Nicolas Stemann. XVII symposium of the series "Theater and University in Conversation". Coordination Ortrud Gutjahr, Institute for German Studies, University of Hamburg in connection with the Thalia Theater Hamburg, January 11, 2015
Reviews of the premiere
Reviews of other performances
  • Dieter Stoll: Still anger. , www.die-deutsche-buehne.de, review of the performance in Nuremberg, February 21, 2016, accessed on February 22, 2016.

Frames

Text output

differences

A comparison between the essay from June 2013 and the version in Theater heute from July 2014 shows only a few differences.

  • In the essay, a separate section of text is devoted to the upcoming end of the Mare Nostrum mission on October 31, 2014 and the start of the EU's Triton mission , which contains a clear criticism of replacing rescue with border security: "Save earlier, then straighten, save - straightened, clear ?, now straighten first, then rescue superfluous, that's new. " In the version from Theater heute this passage is missing and the text section preceding and following in the essay merge into section 16.

Performances

  • DVD for the performance at the Schauspiel Leipzig: Schauspiel Leipzig, Enrico Lübbe: Die Schutzflehenden / Die Schutzbefohlenen (Aischylos / Elfriede Jelinek) Die Theater Edition (harmonia mundi) 2016.

Text extensions / reading by Elfriede Jelinek

  • The wards. Appendix. , in: Theater heute, No. 11, November 2015, pp. 36–43.
  • The wards, Coda
  • In September and October 2015, Elfriede Jelinek updated Die Schutzbefohlenen with the two updates coda and appendix . She spoke both texts in a sound recording for Bayerischer Rundfunk / Radio Play and Media Art. First broadcast: January 30, 2016 in BR2. The reading of Coda and Appendix is available as a podcast / download in the BR radio play pool.
  • The wards. Europe's defense. But now it is building up a lot! (Epilogue on the floor)

Awards

Web links

Commons : The Wards  - Collection of images, videos and audio files

Individual evidence

  1. a b c Bärbel Lücke: Aeschylus, Enlightenment and Asylum Protests in Austria (and elsewhere). On Elfriede Jelinek's play Die Schutzbefohlenen , textem.de
  2. Today : Refugees are allowed to stay in the Votive Church for the time being ( memento from December 5, 2015 in the Internet Archive ) , December 19, 2012
  3. a b Kronenzeitung : Josef Hader and Ute Bock support refugee campers , accessed on April 26, 2015
  4. Franz Wille: Only the whole world. Theater der Welt in Mannheim opens with investigative education, Elfriede Jelinek's "Die Schutzbefohlenen", a Chekhov revue, the new Chelfitsch premiere and Japanese generation problems. in: Theater heute , 55th year, No. 7, July 2014, pp. 6–10, p. 7.
  5. a b c Naturalization: Yeltsin daughter is Austrian. , in: Spiegel Online , April 25, 2013, accessed April 19, 2015.
  6. Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, pp. 3–6
  7. Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, pp. 6-7
  8. Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), pp. 7–8
  9. a b c Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, p. 8
  10. Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, pp. 8–9
  11. Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, pp. 9–13
  12. a b c d e f g h i j Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, p. 4
  13. a b c d e Christine Wahl: The world and its dramatic stability. The program of the Mülheimer Theatertage thinks nothing of the navel gazing. , in: Theater heute , No. 5, May 2015.
  14. a b c d Barbara Burckhardt: The home collection. Michael Thalheimer makes Elfriede Jelinek's Die Schutzbefohlenen disappear in the Vienna Burgtheater in the realm of art. , in: Theater heute , No. 5, May 2015, p. 26
  15. Barbara Burckhardt: The homecoming. Michael Thalheimer makes Elfriede Jelinek's Die Schutzbefohlenen disappear in the Vienna Burgtheater in the realm of art. , in: Theater heute , No. 5, May 2015, p. 27
  16. a b Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, p. 17
  17. Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, pp. 18-19
  18. a b c d Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, p. 19
  19. a b Juliane Vogel: Intertextualität , in: Pia Janke (Ed.): Jelinek-Handbuch , Verlag JB Metzler Stuttgart, 2013, ISBN 978-3-476-02367-4 , p. 47.
  20. a b Juliane Vogel: Intertextualität , in: Pia Janke (Ed.): Jelinek-Handbuch , Verlag JB Metzler Stuttgart, 2013, ISBN 978-3-476-02367-4 , p. 51.
  21. ^ Aeschylus: Die Schutzflehenden , accessed on April 23, 2015.
  22. Aischylos: Die Schutzflehenden , in: Bernhard Zimmermann (Ed.): Aischylos Tragödien , translated by Oskar Werner. Munich Verlag Artemis and Winkler, 6th edition, 2005, p. 207.
  23. a b Nicolas Stemann in an interview with Patrick Wildermann: Nicolas Stemann opens the Theatertreffen "Have you got any damage?" Asylum between Aeschylus and Jelinek: Director Nicolas Stemann opens the Berlin Theatertreffen 2015 with his production Die Schutzbefohlenen and questions Europe's handling of refugees. , in: Der Tagesspiegel , April 29, 2015, accessed on May 3, 2015.
  24. RWR Primer (pdf), accessed on February 8, 2015.
  25. RWR Primer (pdf), p. 14, accessed on February 8, 2015.
  26. Prometheus bound , v. 851.
  27. a b c d e Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, p. 15
  28. Elfriede Jelinek: Die Schutzbefohlenen ( Memento from June 14, 2015 in the Internet Archive ), June 14, 2013 / November 8, 2013 / November 14, 2014, accessed on February 8, 2015.
  29. Karin Kathrein: "Home is the most uncanny." Elfriede Jelinek on "Totenauberg." In: Die Bühne , Heft 9, Vienna 1992, p. 34, quoted from Margarete Sander: Text production process with Elfriede Jelinek. The example of Totenauberg. , Königshausen & Neumann, Würzburg 1996, ISBN 3-8260-1263-1 , p. 110.
  30. Karin Kathrein: "Home is the scariest thing." Elfriede Jelinek on 'Totenauberg.' , in: Die Bühne , Heft 9, Vienna 1992, p. 34, quoted from Margarete Sander: Textherstellungsverfahren bei Elfriede Jelinek. The example of Totenauberg. , Königshausen & Neumann, Würzburg 1996, ISBN 3-8260-1263-1 , pp. 110-111.
  31. a b name = "J15"
  32. ^ Margarete Sander: Text production process with Elfriede Jelinek. The example of Totenauberg. , Königshausen & Neumann, Würzburg 1996, ISBN 3-8260-1263-1 , p. 118.
  33. Text from "In der Ferne"
  34. a b c d Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, p. 9
  35. a b Evelyne Polt-Heinzl: Ökonomie , in: Pia Janke (ed.): Jelinek-Handbuch , Verlag JB Metzler Stuttgart, 2013, ISBN 978-3-476-02367-4 , p. 266.
  36. a b c Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, p. 13
  37. Poetry text Rainer Maria Rilke: Herbst , in: Rainer Maria Rilke, Das Buch der Bilder , 2nd, very increased edition, Berlin / Leipzig, Stuttgart Axel Junker Verlag, 1st book part 2, 1906, p. 51 April 2015.
  38. ^ Margarete Sander: Text production process with Elfriede Jelinek. The example of Totenauberg. , Königshausen & Neumann, Würzburg 1996, ISBN 3-8260-1263-1 , p. 147.
  39. a b Monika Meister : References to theater tradition , in: Pia Janke (ed.): Jelinek-Handbuch , Verlag JB Metzler Stuttgart, 2013, ISBN 978-3-476-02367-4 , p. 69.
  40. Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, p. 16
  41. Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, pp. 3-19
  42. Christine Wahl: At the We-Basis. Elfriede Jelinek's “Die Schutzbefohlenen” in Bremen and Freiburg, Yael Ronen's Graz “Community” and Thomas Freyer's NSU crime thriller “My German German Land” in Dresden. in: Theater heute , No. 2, February 2015, page 10.
  43. Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, p. 6
  44. ^ Margarete Lamb-Faffelberger: Home. , in: Pia Janke (ed.): Jelinek-Handbuch , Verlag JB Metzler Stuttgart, 2013, ISBN 978-3-476-02367-4 , p. 280.
  45. Elfriede Jelinek: Die Schutzbefohlenen , in: Theater heute, Volume 55 (2014), 7, p. 7
  46. ^ Evelyne Polt-Heinzl: Ökonomie , in: Pia Janke (Ed.): Jelinek-Handbuch , Verlag JB Metzler, Stuttgart 2013, ISBN 978-3-476-02367-4 , p. 262.
  47. a b Die Schutzbefohlenen , thalia-theater.de , undated
  48. ^ A b Nicolas Stemann in: Amelie Deuflhard , Nicolas Stemann in conversation with Barbara Burckhardt, Eva Behrendt and Franz Wille: Human rights for all? How do we actually live? What is our prosperity based on? And on what our so-called values? Dealing with refugees puts democratic Western Europe to the test. , in: Theater heute , No. 2, February 2015, page 23.
  49. a b Die Schutzbefohlenen Dutch premiere ( Memento from April 15, 2015 in the Internet Archive ), accessed on March 11, 2015.
  50. a b c d Nicolas Stemann, in: Amelie Deuflhard , Nicolas Stemann in conversation with Barbara Burckhardt, Eva Behrendt and Franz Wille: Human rights for all? How do we actually live? What is our prosperity based on? And on what our so-called values? Dealing with refugees puts democratic Western Europe to the test. , in: Theater heute , No. 2, February 2015, page 24.
  51. http://rowohlt-theater.de/play/Die_Schutzbefohlenen.3143517.html
  52. ^ Message from the Thalia Theater , accessed on March 11, 2015.
  53. ^ Announcement from the Bremen Theater , accessed on March 10, 2015.
  54. ^ Message from the Freiburg Theater on the premiere ( memento of February 13, 2015 in the Internet Archive ), accessed on March 10, 2015.
  55. ^ Message from the Oberhausen Theater on Elfriede Jelinek: Die Schutzbefohlenen , accessed on April 1, 2015.
  56. Communication from the Vienna Burgtheater on the cast of the piece ( memento of March 8, 2015 in the Internet Archive ), accessed on April 1, 2015.
  57. ^ Message from the Deutsches Theater Göttingen on the performance , accessed on September 30, 2015.
  58. ^ Announcement from the State Theater Nuremberg on the performance ( memento from October 1, 2015 in the Internet Archive ), accessed on September 30, 2015.
  59. Schauspielhaus Bochum: Schauspielhaus Bochum - Die Schutzbefohlenen / Appendix / Coda / Epilogue on the floor, by Elfriede Jelinek. In: schauspielhausbochum.de. April 9, 2016, archived from the original on April 12, 2016 ; accessed on April 16, 2016 .
  60. Home - Schauspielhaus Zurich. In: www.schauspielhaus.ch. Archived from the original on May 22, 2016 ; accessed on May 22, 2016 .
  61. ^ Karen Jürs-Munby: Staging forms , in: Pia Janke (Ed.): Jelinek-Handbuch , Verlag JB Metzler Stuttgart, 2013, ISBN 978-3-476-02367-4 , p. 329.
  62. Nicolas Stemann: I don't care! How can you do what you want? About the paradox of staging Elfriede Jelinek's theater texts. , in: Brigitte Landes (Ed.): Always yours. Elfriede Jelinek on her 60th birthday. Arbeitsbuch 15, Theater der Zeit Berlin, ISBN 978-3-934344-69-3 , p. 67; Quoted from: Karen Jürs-Munby: Staging forms , in: Pia Janke (Ed.): Jelinek-Handbuch , Verlag JB Metzler Stuttgart, 2013, ISBN 978-3-476-02367-4 , p. 330.
  63. ^ Karen Jürs-Munby: Staging forms , in: Pia Janke (Ed.): Jelinek-Handbuch , Verlag JB Metzler Stuttgart, 2013, ISBN 978-3-476-02367-4 , p. 330.
  64. a b Mounia Meiborg: The Berlin Theater Meeting. Art has seldom questioned itself in such a way. Somehow you really have to do something. We can't help you, we have to play you: almost everyone wants to be political this year. And often come up against limits. , in: Süddeutsche Zeitung , No. 113, May 19, 2015, ISSN  0174-4917 , p. 12.
  65. a b Peter Laudenbach, in: Against the favors! Peter Laudenbach and Stephan Reuter talk about the decisions of the Theatertreffen jury. , in: Theater heute , No. 5, May 2015, p. 32.
  66. ^ A b Peter Burghardt: We are Pöseldorf. The Berlin Theatertreffen opens with a staging that is as unusual as it is courageous: Refugees play a play by Elfriede Jelinek. , in: Süddeutsche Zeitung , No. 99, April 30 / May 1, 2015, p. 10.
  67. a b c d e f Nicolas Stemann, in: Amelie Deuflhard , Nicolas Stemann in conversation with Barbara Burckhardt, Eva Behrendt and Franz Wille: Human rights for all? How do we actually live? What is our prosperity based on? And on what our so-called values? Dealing with refugees puts democratic Western Europe to the test. , in: Theater heute , No. 2, February 2015, page 25.
  68. Christine Wahl: At the We-Basis. Elfriede Jelinek's “Die Schutzbefohlenen” in Bremen and Freiburg, Yael Ronen's Graz “Community” and Thomas Freyer's NSU crime thriller “My German German Land” in Dresden. , in: Theater heute , No. 2, February 2015, pp. 10–11
  69. Christine Wahl: At the We-Basis. Elfriede Jelinek's “Die Schutzbefohlenen” in Bremen and Freiburg, Yael Ronen's Graz “Community” and Thomas Freyer's NSU crime thriller “My German German Land” in Dresden. , in: Theater heute , No. 2, February 2015, pp. 11–12
  70. a b c d e f Till Briegler: Strictly form, painless. Choir lecture with beloved castle actors: Elfriede Jelinek's refugee drama Die Schutzbefohlenen in Vienna. In: Süddeutsche Zeitung , No. 75, March 31, 2015, ISSN  0174-4917 , p. 12.
  71. a b Friederike Felbeck: Home Zone residents among themselves. The Wards - Peter Carp tames Elfriede Jelinek's passionate refugee complaint at the Oberhausen Theater. In: www.nachtkritik.de, March 27, 2015, accessed on April 1, 2015.
  72. a b Egbert Tholl: Please do not disturb! Bettina Brunier edited Elfriede Jelinek's 'Die Schutzbefohlenen' in Nuremberg and turned the refugee drama into a great evening. , in: Süddeutsche Zeitung , No. 48, 27./28. February 2016, p. R7.
  73. a b Martin Krumbholz: Ungeheuerlich. Elfriede Jelinek's refugee play 'Die Schutzbefohlenen' is a really good theater evening in Bochum. In: Süddeutsche Zeitung , No. 87, April 15, 2016, p. 12.
  74. Christine Dössel: Arrived. The refugee crisis dominates the theater landscape. How much of it is art - and where does social work begin? , in: Süddeutsche Zeitung , No. 241, October 20, 2015, p. 11
  75. Christine Dössel: Papas Geist. Is Castorf's "Baal" allowed to the Berlin Theatertreffen? , in: Süddeutsche Zeitung , No. 27, February 3, 2015, ISSN  0174-4917 , p. 9.
  76. ^ Website of the refugee group "Wij zijn hier" / "We are here" , accessed on March 13, 2015.
  77. ^ Message from the Frascati Theater on "Labyrinth" , accessed on March 13, 2015.
  78. Information from the Burgtheater on Elfriede Jelinek: Die Schutzbefohlenen . ( Memento of March 8, 2015 in the Internet Archive ), accessed on October 20, 2015.
  79. Announcement on the discussion event on Die Schutzbefohlenen , accessed on October 20, 2015.
  80. a b Communication from the Maxim-Gorki-Theater on In Our Name , accessed on August 22, 2015.
  81. a b Peter Laudenbach: A sudden attack of home. Unexpected change on a cheerful evening: Elfriede Jelinek's "Die Schutzbefohlenen" at the Maxim Gorki Theater in Berlin. In: Süddeutsche Zeitung , No. 264, November 16, 2015, p. 11.
  82. a b c In our name , in: Theater heute , No. 1, January 2016, p. 54.
  83. Information from the Leipzig Theater on the performance ( memento from September 30, 2015 in the Internet Archive ), accessed on September 30, 2015.
  84. Helmut Schödel: The full boat. We are the unannounced. The protectors: The play takes on the refugee issue with Aeschylus and Jelinek. , in: Süddeutsche Zeitung, No. 230, October 7, 2015, p. 12.
  85. Jens Bisky , Enrico Lübbe , Torsten Buß (eds.): You don't know what the future will bring. The expert talks on Die Schutzbefohlenen / Die Schutzbefohlenen at the Leipzig Theater. Research 124th Theater der Zeit, Berlin 2016. ISBN 978-3-95749-080-3 .
  86. Schauspiel Leipzig: Expert discussion on the staging. In: schauspiel-leipzig.de. October 17, 2015, archived from the original on December 4, 2016 ; Retrieved December 4, 2016 .
  87. ^ SZ: Conversations about those under protection. In: Süddeutsche Zeitung, No. 279, December 2, 2016, p. 14.
  88. http://wien.orf.at/news/stories/2768696/ http://wien.orf.at/news/stories/2768696/ , orf.at. April 14, 2016, accessed April 15, 2016.
  89. ^ A b Margarete Sander: Text production process with Elfriede Jelinek. The example of Totenauberg. , Königshausen & Neumann, Würzburg 1996, ISBN 3-8260-1263-1 , p. 75.
  90. ^ Margarete Sander: Text production process with Elfriede Jelinek. The example of Totenauberg. , Königshausen & Neumann, Würzburg 1996, ISBN 3-8260-1263-1 , p. 161.
  91. Ulrike Haß: Theater Aesthetics. , in: Pia Janke (Ed.): Jelinek-Handbuch , Verlag JB Metzler, Stuttgart 2013, ISBN 978-3-476-02367-4 , p. 67.
  92. ^ Pia Janke, Stefanie Kaplan: Political and feminist engagement. , in: Pia Janke (Ed.): Jelinek-Handbuch , Verlag JB Metzler Stuttgart, 2013, ISBN 978-3-476-02367-4 , p. 14.
  93. ^ Pia Janke, Stefanie Kaplan: Political and feminist engagement. , in: Pia Janke (Ed.): Jelinek-Handbuch , Verlag JB Metzler Stuttgart, 2013, ISBN 978-3-476-02367-4 , p. 15.
  94. University of Hamburg: General Lecture System. Public lectures. Winter semester 2014/2015. ( Memento of February 18, 2015 in the Internet Archive ), p. 40, accessed on March 4, 2016.
  95. Die Schutzbefohlenen ( Memento from June 14, 2015 in the Internet Archive ), accessed on May 7, 2015.
  96. Text Die Schutzbefohlenen, Appendix on Elfriede Jelinek's website under News , September 18, 2015, accessed on December 31, 2015.
  97. Text Die Schutzbefohlenen, coda on Elfriede Jelinek's website under News , September 29 / October 7, 2015, accessed on December 31, 2015.
  98. ^ BR radio play Pool-Elfriede Jelinek reads Die Schutzbefohlenen, Coda
  99. ^ BR radio play Pool-Elfriede Jelinek reads Die Schutzbefohlenen, Appendix
  100. Text The Protectorate. Europe's defense. But now it is building up a lot! (Epilogue on the floor) on Elfriede Jelinek's website under Current Affairs , December 21, 2015, accessed on December 31, 2015.
  101. Schauspiel Leipzig: Die Schutzflehenden / Die Schutzbefohlenen. In: schauspiel-leipzig.de. October 2, 2015, archived from the original on April 21, 2017 ; Retrieved December 4, 2016 .
  102. Tobias Becker in conversation with Barbara Behrendt: A lucky year for contemporary drama ( memento from May 2, 2015 in the Internet Archive ), theaterheute.de, March 5, 2015, accessed on March 10, 2015.
  103. Festival overview Autorentheatertage 2015. Selection for the Long Night of Authors. , www.nachtkritik.de, June 13, 2015, accessed on February 22, 2016.
  104. ^ Announcement from the Berliner Festspiele on the invitation of Die Schutzbefohlenen to the Berlin Theatertreffen 2015 ( memento from April 19, 2015 in the web archive archive.today ), accessed on April 19, 2015.
  105. Nominations for the German Audiobook Prize 2015 ( memento from February 3, 2015 in the Internet Archive ), accessed on February 5, 2015
  106. Audio book best list from June 2014 ( Memento from February 14, 2016 in the Internet Archive ), www.hoerjuwel.de, accessed on February 14, 2016.