The destructive power of man-made atomic bombs, after the dropping of the bomb on hiroshima in august 1945, made it clear that mankind could not use these alleged "miracle weapons" to destroy itself can destroy itself. Unfortunately, this danger is not over; still more or less mentally unstable power players are threatening with their intervention. Friedrich durrenmatt took in 1962 in his political crime comedy "the physicists" this group of scientists is targeted and shows the horror of a genius physicist who wants to face the consequences of his research and who therefore wants to drop out in order not to have to become guilty. But even his immersion in an insane asylum and the destruction of his writings are of no use, because what has been thought cannot be taken back.
Durrenmatt uses three inmates of the madhouse to tell the story of human thought, from the "wise king solomon" in the bible about isaac newton, the founder of modern science, and albert einstein, the most brilliant physicist of the 20th century. He reminds us that researchers have accompanied and influenced the path of humanity since the beginning of the twentieth century, when the results of their research are only being confirmed by experiments in our own day.
All three patients in the physicist’s department of mathilde von zahnd’s sanatorium are not crazy, but rather secret service agents after mobius’s findings, from which he himself wants to protect humanity by his retreat into the madhouse. All three are tricked by the power-hungry single madwoman, who has long since acquired this knowledge and markets it for her enrichment in a world corporation.
All these results, which are closer to a tragedy, begin quite cheerfully in durrenmatt’s comedy: with the frustration of murder commissioner richard vob (not quite real in his role: christian A. Hoelzke), who is supposed to solve a murder at the noble sanatorium for the second time and is informed by head nurse marta boll (sibylla rasmussen, very snappy) and clinic director von zahnd about his powerlessness in the face of the unpunishable gentleman: a "newton, who actually thinks he’s einstein" (andre vetters as a lissome, lanky researcher at peace with himself for the pleasure of thinking) "einstein, who also thinks he’s einstein" (stephan burgi as wiener) (stephan burgi as a fuzzy-headed energy package with a lot of similarity to his historical role model) and mobius, to whom allegedly "the king salomon appears and dictates his brilliant ideas" (peter bause between a physicist calmly playing out his camouflage, overwhelmed by his nurse’s love interest, but also eloquently representing his position as the man in charge to his colleagues).
Director herbert olschok has played out the comic possibilities of this first part for the pleasure of the audience. The strange appearance of mobius’ wife, now missionary lina rose (regula steiner-tomic a bit pale in the mixture of self-righteousness and bad conscience of the character), who stops by on her way to the marianas together with her three sons and her new husband, he has thankfully not let it play out, but has cleverly shortened it with the help of portraits and tape recording.
Peter bause’s rough appearance as a man possessed by king salomon is nevertheless sufficiently motivated, the sudden change from the raving madman to the peaceful and friendly inmate mobius, which becomes clear to the viewer at this point, is sufficiently clear. In the perfectly structured drama now follows mobius’ murder of his nurse (tina rottensteiner very fresh and emotionally engaged as the lover who tries to animate the much older dreamer lover), who provokes the third murder, since with her declaration of love mobius’ exchange threatens to be exposed as a lunatic, and thus concludes the crime plot.
A good directorial idea at the beginning of the 2. Part of it was not to let uwe sievers appear as a fearsome muscleman, but to let raimond knoll (very precise and unagitated) show that even nurses can be afraid of the three physicists-modernists. Their emergence from the pretense was convincingly portrayed by the three gentlemen, also the pulling in the face of the pressure of their clients and their consent to mobius’ threefold refusal to save the world.
But their insight is useless; it takes over the mad doctor. Hellena buttner took her time for her rough reveal as mathilde von zahnd, deftly delaying her mad scene and her eventual transformation from the doctor in the white coat into the stylishly and impressively dressed owner of the world-dominating corporation, who has exploited her patient mobius for years. In rough fidelity to the text, the three physicists’ self-conceptions and the shocking insight into the non-reversibility of what was once thought, even of the consequences of humanity’s interventions in the earth’s life system, as we know at the beginning of the 21st century, came to the fore. Thinking along at the beginning of the century.
The audience was absolutely enthusiastic about this stylistically, also with the stage design by alexander martynow, to a large extent in the time of the origin of the stucco stuck production. For the nine actors, the protagonists, above all the two peter bause and ellena buttner, who belong to the urges of german acting and who have often been guests at the theaterring, there were bravos again and again from the full house.