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THE TRAGEDY OF MAN AS THEATRUM THEOLOGICUM (A DRAMATURG’S DIARY)
only fragmentarily. The Lord’s voice is a child’s voice: could this be a reminis¬
cence of the inspiration of our conversation in November, when I spoke to him
about the Levente Gyöngyösi opera that is being written? I dont know, but the
answer isnt important. Ihe Book of Proverbs describes Creation as the joint
work of God and a child. When I read the biblical passage, this viewpoint also
radically altered Gyöngyösi’s conception of the Tragedy, because everything
from then on was woven through with humor. The child-Messiah is present
at the Creation, this alone is enough for the interpretation of the Tragedy as
fulfilled salvation and last judgment to be a theatrical thought of overwhelm¬
ing arc: I cannot get enough of it. During the rehearsal, I forward the biblical
passage to Purcarete via email; he wished it were in front of him on the screen:
The Lord brought me forth as the first of his works, before his deeds of old; I was
formed long ages ago, at the very beginning, when the world came to be. When there
were no watery depths, I was given birth to, when there were no springs overflowing
with water; before the mountains were settled in place, before the hills, I was given
birth to, before he made the world or its fields or any of the dust of the earth. I was
there when he set the heavens in place, when he marked out the horizon on the face
of the deep, when he established the clouds above and fixed securely the fountains
of the deep, when he gave the sea its boundary so the waters would not overstep
his command, and when he marked out the foundations of the earth. Then I was
constantly at his side. I was filled with delight day after day, rejoicing always in his
presence, rejoicing in his whole world and delighting in mankind.”
Wisdom personified speaks here, which, of course, is not Lucifer’s own but that
of pure nature: Creation is not a representation of power but a world born of
Gods and the Child’s play, in which mankind should enjoy itself. The child’s
voice is the rebuttal of time: this frames the entire production, the Child who
calls to us all.
Poor theater! — its infinite complexity. And the terror in the details. From
which we must not turn away.
FEBRUARY 24, 2020
The weightiest casting decision is made: Enikő Eder” is the voice of the Lord.
She realizes this asexual angel-voice, coming from a great distance, so precise¬
ly that it’s impossible to let it go. Such decisions are always difficult and risky:
in English was chosen, so as not to distract the reader — but perhaps the local color is worth
retaining.
© Prov 8:22-31.
70 N.B.: a female actor.