PHOTO: © Schaubühne / Franziska Lantermann

Richard III.

In the organizer's words:
Richard is ugly. A premature, deformed, limping, hunchbacked, cripple who served his family well, and especially his brother Edward, on the battlefields of the Wars of the Roses, which flared up after the death of Henry V. Now Edward is king, thanks to some murders committed by his disabled brother on his own. But the end of the war does not bring peace to Richard, his hatred for the rest of the world, of which he will never be a part, runs too deep. And so he does what he does best and continues to murder. He removes everything that prevents him from being king. If he can't be part of a society of the fated, he at least wants to rule it. He plays his opponents off against each other with political skill, unscrupulously instrumentalizes the ambition of others for his own, and strides through an immeasurable bloodbath with a white vest until he no longer has anyone above him and the crown is his. But even this triumph, bought with the death of enemies, allies and relatives, will not assuage his grievance at what nature has done to him. Alone at the head of the English kingdom, deprived of all his adversaries, he now directs his rage against his real main enemy - himself. "Richard III" is one of Shakespeare's earliest plays, first performed around 1593. To this day, the title character has lost none of its fascination. Its seductive power lies precisely in its unrestrained, purposeful, lustfully displayed amorality. Richard is the first in a series of villains in Shakespeare's work whose moral independence and virtuoso art of manipulation seem schooled on Machiavelli's "Prince": Iago in "Othello," Edmund in "King Lear," the Lady in "Macbeth." But the play is not exhausted in the demonization of a psychopathic man on the rampage. It is also the portrait of a power elite deeply shattered by internal struggles, from whose midst grows a perverse dictatorship. This content has been machine translated.


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