Nathan der Weise

In the organizer's words:

Multimedia force of images, text, video and stage magic

Lessing's Nathan: that's enlightenment including tolerance between the three monotheistic religions of Islam, Judaism and Christianity - right?

The trenches of faith run criss-cross through Jerusalem. As an upright crusader, temple ruler Kurt struggles with the fact that he rescued Recha, Nathan's foster daughter, from the burning house of the Jew. And Sultan Saladin wants to know from Nathan what kind of faith, what kind of law made the most sense to him. In inventing a suitable "little story", Nathan winds his way from explanation to explanation and in the end manages to suggest to Saladin that the question posed cannot really be answered due to the uncertainty of the sources. In the end, the author even forges family ties between his characters, despite their different religious backgrounds.

By the time of the miraculous family reunion at the latest, it becomes clear that there are a few things in Lessing's Nathan. And it is precisely these inconsistencies that are exciting and open up new perspectives. Especially when Dariusch Yazdkhasti and Konrad Kästner, as they recently did in their examination of Goethe's Faust 2, use theatrical-media tools to operate their way into the interstices of Lessing's flagship text of the Enlightenment, place it in contemporary contexts and put it through its paces with a multimedia force of images, text, video, bodies, players and stage magic.