RÄUBER. Music theatre after Robert Walser

Beyer’s adaptation of Robert Walser’s novel “The Robber” completely concentrates on the relationship of the robber to the women Edith and Wanda. The erotic tension between the figures is marked by distance and subjection. A tender mesh of small gestures and stolen glances, secret injuries and disappointments unfold between pianist, singer and dancer. The robber’s desire is thereby manifested in a postponement that seems almost unending, finding its correspondence in Harneit’s music which sensitively counterpoints the text with other “stolen” composers and authors.

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