Die Jagdgesellschaft

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The design takes the words of the General in the play literally, who accuses the Writer of documenting every action in his mind for his literary work and fragments of the text are continuously written on the wall. The scene is not meant to be read naturalistically but as a kind of sublimated reality or the mind of the Writer which hints at some themes of the  text – a dialectic between nature and culture, difficulties of identity and the sickness unto death.

In a renewal of Hegels Master-Slave-Dialectic in the digital age, the figure of Asamer, a servant and woodworker, is replaced by a home-assisting-system, since throughout the play he mostly gets addressed by commands on how to heat the oven and a story is recalled where the General nearly killed himself with a chainsaw, because he is not capable of practical labor and dependant on his servants.

The text also asks questions about being – is one identical with oneself and what does it mean to be conscious of mortality? The stage in this case  is a kind of heterotopia – a non-place – where nothing is quite what it seems. The windows to nature reveal nothing but a technical  reproduction of the  force of the bark beetle, wreaking havoc right in front of the Generals eyes without him knowing. Bernhards repetition of words is multiplied further by the writing on the wall. Writing in this play can be read as a protest – everyone in this society writes – maybe in a desperate search for meaning. The sterility of the stage is a hint towards this meaninglessness with the  snow cannon as a paradigm for the »Kunstnaturkatastrophe« a coinage combining the double meaning of »Kunst« as both art and artificiality with a natural disaster. The hunting society being trapped in mankind’s own undoing.