Directors: Teemu Mäki & Arja Tiili
(www.teemumaki.com & www.arjatiili.fi)
Script: Teemu Mäki.
Choreography: Arja Tiili.
Performers (actors & dancers): Maria
Ahlroth, Pelle Heikkilä, Viktor
Idman, Eleni Pierides and Jenni Urpilainen.
Scenography and clothing: Lars Idman.
Arrangements of live music: Iiro Ollila.
Choice of music: Teemu Mäki & Arja Tiili.
Light design: Ada Halonen.
Produced by Teater Viirus & Arja Tiili &
Co /Intomieliset ry.
WOYZECKMATERIAL s a version of and
commentary on Georg Büchner's (1814–1837) play
Woyzeck (1837). Only a few sentences from
Büchner's original text have been used in
Woyzeckmaterial. In this play dance, video and
music are as important as dialogue and
narrative. The basic tone of the work is
Brechtian, as the characters both play the
original, Büchnerian roles, and also verbally
comment on their own character and story as if
from the outside – i.e. a very basic alienation
effect, verfremdungseffekt, is in use.
Written in Finnish,
translated to Swedish, premiere in Swedish, with
Finnish surtitles. English
translation is in the works.
PRO (Woyzeck speaks)
"Woyzeck is the first famous play, which
critisizes simultaneously all the following: 1)
the state, 2) the military, 3) the fanatic
belief in technological progress, and 4) the
bourgeois nuclear family. And about the fifth
line of thought, of Woyzeck's – both of the play
and of its main character – of Woyzeck's radical
relationship with Nature, how he anticipates
that mankind with all its machinery will not win
over Nature, and how on one hand he is horrified
by mankind's upcoming defeat and on the other
hand he is bewitched by Nature's grimness, of
all this I could talk about endlessly..."
CONTRA (Drum Major speaks)
"...what I find so fuckin' irritating is
that kind of daydreamers, that kind of eternal
Woyzecks, shitty martyr-idiots, who first go and
work shitty jobs for a ridiculously small pay or
live as spouses of some narcissistic asshole
year after year sobbing and then when no one
comes to rescue them with a white horse, no
matter how hard they have, with a screamingly
loud understatement, signalled that they've been
terribly exploited and politically ass-raped,
then they in the end just fade away into the
addictland or loony bin – or stab a bloke. Or
stab a broad. And stab a couple of kids too as a
Working life. Nuclear family. Honor
Killing. And the Joy of life. Büchner, Brecht,
Naomi Klein, Peter Handke, Class society,
Occupy movement and Ecocatastrophe.
Thomas Köner (1965–): "Kanon (Part 1:
Rodion Shchedrin (1932–): Carmen Suite (1967),
parts 9 and 2. Recording: State Chamber
Orchestra, Moscow Virtuosi, Vladimir Spivakov
William Byrd (1539–1623): "Hughe Ashton's
Ground", Glenn Gould's (1932–1982) recording.
Mary J. Blige (1971–): "No More Drama" (2001),
Scion: "Part 7 (7.1 Cyrus - Enforcement 7.2
Basic Channel - Phylyps Trak Ⅱ/Ⅲ)" (2002).
Alec Empire (1972–): "When You've Reached Your
Peak It's Time to Die" (1996).
Val Rosing (with Henry Hall and His Orchestra):
"Teddy Bears' Picnic / Jos metsään haluat mennä
LIVE MUSIC, SUNG BY THE PERFORMERS
"Yksin oot sinä ihminen", composer Kaj
Chydenius (1939–), lyrics V. A. Koskenniemi
"Taivas on sininen ja valkoinen", traditional.
"Olen kommunisti", composer Eero Ojanen (1943–),
lyrics Nazim Hikmet (1902–1963).
"Und Endlich", composer Hanns Eisler
(1898–1962), lyrics Peter Altenberg (1859–1919).
All video clips used in the play are by
Teemu Mäki, except Ghost Ride (2010),
which is an autonomous video work by Timo
Bredenberg (1984–). Also, Teemu Mäki's
"Hitler-Woyzeck", made for this play, is a
detourned extract from Oliver Hirschbiegel's
(1957–) wonderful film Untergang (The
Downfall / Perikato, 2004).