Kritiken

“Werner Schwab’s ‘The Presidents’ enthralls as the final premiere at the Reichenau Festival. Director Cornelia Maria Rainer stages perfect cogs and the most delightful theater for three. An evening that bounces beautifully like a rubber ball.”

“A trip to the Reichenau Festival is worthwhile. ‘The Presidents’ generate a lot of empathy with their quirky absurdity. The powerful play with strong actors was rightfully acclaimed.”

“By skillfully blending history and stories, Cornelia Rainer easily shifts between different eras, all with impressive continuity. It is an astonishing adaptation of Jeanne d’Arc that is being performed at the CDN. The Maid of Orléans has been used, occupied, and distorted for decades. The Austrian director provides us with a completely new perspective with her work: she relocates the warrior’s sword into the inner life of four girls of our time, where, in alternating voices, they embark on a victorious journey of their own consciousness and their quest for the meaning of existence and life: of courage and self-awareness.

By skillfully blending history and stories, Cornelia Rainer easily shifts between different eras, all with impressive continuity. The insightful existential questions of the historical Jeanne d’Arc become the questions of the four young girls of our time. The text feels like a long thought that is just coming into being.”

The many choices available to young people today encounter the impossible; they lose themselves in fear and dizziness.

What we see here is finally a truly instructive and artistically high-quality theater for young women and young men (mutatis mutandis). Nothing is forced; everything is expressed with great clarity. The nebulous detours that young people often have to take today become opportunities and inventions. Numerous questions are posed unvarnished, always with the consideration that the audience itself must spin the thread of reflection. The premises are also laid out in the production for this.

A darkly staged production, where the set always serves the performance of the actresses and not the other way around.

The story of Jeanne d’Arc does not disappear; on the contrary, it is the red thread and is used as a starting point for essential questions of our time.

A production that deserves to be shown everywhere in the future: in theaters and festivals, at celebrations for Jeanne d’Arc, in schools, for young and adult audiences.”

“At the invitation of CDN Normandie Rouen, Cornelia Rainer directs a play for four actresses. The production includes all generations and is a joyful confrontation of history with the present day. Fearlessly, she engages with the myth of Joan of Arc, awakening an empowering force of change in the audience. Her direction has already been a major success in Austria. Rouen proves to be the ideal setting for this French adaptation.”

“Cornelia Rainer presents an astonishing adaptation of the historical story of Joan of Arc through a young girl of our time. Originally written and staged for a young audience, this production, with its universal themes, is a must-see for all generations.”

“In a simple set, with few props and a basic revolving stage (which originated from the set of her successful production ‘Lenz’ at the Avignon Festival), Cornelia Rainer brings a fresh, contemporary perspective of Joan of Arc to the stage without relying on elaborate cinematic additions or effects.”

“… in theaters and festivals, at celebrations for Joan of Arc, in schools, for young and adult audiences.”

“A successful emotional appeal. Under the direction of Cornelia Rainer, the production in Trier succeeds in emotionally engaging the audience.

Many are moved by the tragic ending, even though it is clearly foreshadowed scenically and in the subtitled libretto from the beginning and therefore should not come as a surprise. Perhaps this is because the production’s dramaturgical backbone is based on the inner life of Butterfly, portrayed by Siheng Yi.

Access to her thoughts and feelings is primarily facilitated through visual techniques. For instance, a video projection of sky, clouds, and ocean waves draws the audience into the longing expressed by Butterfly in the aria ‘Un bel dì, vedremo’ in the second act. Her isolation is emphasized by a dungeon made of several layers of curtains, behind which the figure is motionless and only dimly visible.

Butterfly’s pain penetrates deeply through an oversized projection of her face.”

“Maramba is tough material for very good theater. Director Cornelia Rainer preserves the openness of the source material, brings threads together while allowing them to remain loose and scattered. The actors are immediate, authentically human, and unvarnished. In short: they are magnificent.”

“Much like Paula Köhlmeier’s texts, which succinctly, concisely, and directly depict small and grand attempts at understanding human nature (…), the director Cornelia Rainer, also born in 1982, fragments all 47 prose stories from the ‘Maramba’ anthology into a one-and-a-half-hour experimental theater collage with five actors. They move monologuing and dialoguing through the entire upper floor of the Old Swimming Pool venue, amidst audience rows and scattered playing areas, accompanied by live sound from instruments and technology. Interspersed video sequences reflect and expand on four screens, delivering such intense performances that the audience gave enthusiastic applause after Saturday’s premiere.”

“The director of ‘Maramba von Paula Köhlmeier (k)ein Talent zum Glück’ has transposed the forty-seven prose pieces of the writer into a theatrical world, transforming them into fascinatingly complex, fast-paced, polyphonic languages of roles, and staging this entire universe of words in alternatingly breathlessly hammering and quietly reflective mono-dialogues. (…) Through Paula’s narratives, we as the audience become aware that with each story, our perception becomes clearer, and tonight, at the theater of the Old Swimming Pool, as Cornelia Rainer brilliantly stages it, I must say, we witness a significant production.”

“She has meticulously cut the diamond, emphasizing fun, yet never forgetting its melancholic baseline amidst all the happy sounds.”

“Cornelia Rainer brings Lenz to life: a discovery. Not just of Jakob Lenz, whose work is rarely performed, but of Cornelia Rainer herself. A young Austrian director making her debut in France.”

“Cornelia Rainer has created an adaptation of one of the most intelligent and seductive texts. The result is remarkable. There is a great liveliness in this production. This director is one to follow, as her ‘Lenz’ is a perfectly composed performance.

The mastery of directing the actors, all in harmony, the use of live music by Julian Sartorius, and the staging of the set, which symbolizes the inner mountains and torments of the poet, make this production a great success.”

“The actors complement each other wonderfully, engaging joyfully and performing with a lightness and naturalness that balance and bring to life the heavy, somber theme. In just under 100 minutes, Lenz’s fate is condensed and narrated in a concentrated atmosphere that is both entertaining and touching.”

“In a constant balance between intimacy and collective harmony, Cornelia Rainer navigates between existential inquiry and almost metaphysical thriller, vividly portraying Lenz’s sojourn in Steintal with a consistently meaningful direction and stage design. (…) Cornelia Rainer takes time with characters to forge relationships, defining their personalities with remarkable strength, sometimes unsettling and ambiguous. (…) Her text work displays rare mastery and reflects thorough research. And everything becomes music, from the roller coaster to the plates and chairs, culminating in a grand finale with the drummer before silence falls.”

“A writer trapped in his existential questions—this is the intriguing, mysterious proposal and at the same time the tireless stance of the young, insightful director Cornelia Rainer, a woman of the theater and of music, who addresses the soulful confessions and responsibilities of every citizen of their respective time, whether at the end of the 19th or the beginning of the 21st century.”

“Under the benevolent gaze of Cornelia Rainer, Lenz finds a dignified, posthumous rehabilitation in this production.”

“The story of Anna, a personality split in two, who has to earn money in American cities at the bidding of her family who want a house in Louisiana. Sin and virtue, false and real, forsakenness and foresight cannot be differentiated between where the market is in control. And love? Does it even exist? There is only oppression. And above everything there is desire.

On a slant in danger of collapsing and a set designed by Sarah Haas, Rainer demonstrates the bitter reality in a perfect scenic tone which is equally achieved in both performances by the excellent chamber orchestra Modus 21 under the precise and confident direction of Erich Polz. Mona Somm, a mix between Brünnhilde, Elektra and Lady Macbeth, amazes with an authentic timbre à la Weill and a Brecht-like atmosphere; Korinna Krauss is her best alter ego. The vocal quartet CantoSonor is well-tuned and exquisite in the malicious hypocrisy of the family, the ensemble is professional.”

“With few props – a horse’s head, a childlike wooden sword, sunglasses, a chainmail hood – Rainer develops a dramaturgy that easily sustains the entire 75 minutes. ‘Why not (again) Joan of Arc? The play at Dschungel Wien surprisingly serves as a cipher for today’s girls.

Following the motto that feminist exploration of history doesn’t always have to focus on Hildegard von Bingen and her alternative esoteric trail, Cornelia Rainer (text/direction) has written a play of the same name. The piece succeeds in highlighting the current relevance of Joan in her historical actions (expelling the English from France), as well as her strangely fascinating strength of conviction and faith.

Presented four times to the audience is this simple girl: Sophie Aujesky, Sophie Behnke, Anna Lisa Grebe, and Louise Knof, identically dressed, portray the facets of this peasant girl: wild, hesitant, doubting, and ultimately very clear. Joan, who could also be named Andrea, Jessica, or Katrin, is very present in terms of today’s multimedia age, where the question of ‘self’, the courage to own identity, and belief in a cause remain consistently important. Even without ‘expelling the English.’ With minimal props – a horse’s head, a childlike wooden sword, sunglasses, a chainmail hood – Rainer creates a dramaturgy that effortlessly lasts the entire 75 minutes. ‘Johanna’ is a surprisingly apt symbol for today’s girls. Suitable for ages eleven and up.”

A wonderful play and four great actresses, so to speak, share a role but they multiply at the same time, and make the role of Joan universally relevant. They perform wonderfully together – whether in the scenes where they speak in synchronicity, or simply in common scenes, that are precisley timed, whether immersed in the ancient yet modern version, or the contemporary Johanna.

What is worth fighting for?

Very quickly the figure of the historical Joan of Arc (Maid of Orleans) switches to a modern approximately 12-year-old girl named Johanna. Despite 600 years, several basic questions remain the same: Who am I? Who influences me? What do I believe? Where am I from and where am I going? And last but not least, why?

 Four are one and many at the same time. A kind of revolving stage is in the middle of the stage, where a woman lies. Three more are – in a very similar position – on other parts of the stage – outside the circle – on the floor. All of them are Johanna. which actually means that we meet two Joans, the Joan 600 years ago in France and Joan from here today.

You can’t do anything and you must do everything

At the start we hear from the wings “wonderful” phrases unfortunately known by too many children and young people like “you can’t, you’re too stupid, too small, too big, too thin, too fat ….” and the like. Cut. Next Saying: “Tomorrow is a big day for you, where it will be decided whether you rise or fall!”

Great!

Against the background of the first humiliation caused by parents or teachers, Johanna questions what is and must be learned in school. “I wonder when I will be able to use the probability theory to calculate the probability of whether I really need it in life!” School knowledge is counteracted by the practical challenges of life, such as love and friendship. Or in the case of cover letters, where a theme is made of the requirements to be young and at the same time to have a lot of practical experience, as it is happening more frequently in the job market.

Beginning or mediocrity?

The departure of the self-confident, exceptional Joan of Arc, who prompted the French king to give her soldiers so that they could battle against the English is connected to today’s Johanna, who wonders what is worth fighting for today? She almost resignedly states: “Mediocrity is the new religion!” and then she picks herself up again and cries: “Hello world, I want to change you”. At this point, this sounds a bit ironic. 

After a discourse on religion and belief and philosophizing about realism and reverie she comes at last – like the mythical creature in the classic children’s book “The little I am I” – in the end, she just wants to be herself. Johanna decides on the great day, to take up the fight for her life.”

“Memory of Future Times”
Autumn has arrived, and in the DSCHUNGEL Vienna theater for young audiences, a remarkable premiere was presented as part of the Wien Modern festival.

The children opera  ‘DAS MÄRCHEN VOM ALTEN MANN’ draws from Georg Büchner’s art fairy tale ‘ES WAR EINMAL EIN ARM KIND,’ integrated into Woyzeck, depicting touching lines about the search of an abandoned child who finds only dead wood instead of the longed-for moon, and a withered sunflower instead of the sun. The production is directed by Cornelia Rainer from East Tyrol. Interwoven into Rainer’s libretto are motifs from Hans Christian Andersen and poems like Rilke’s ‘HERBSTTAG,’ ambitiously performed by the singers, actors, and musicians of Ensemble Lux. Picture elements reminiscent of silhouettes, illustrated on translucent panels by Fiammetta Horvat, repeatedly portray the long silent old man’s search (played by Klaus Huhle) for his past. Initially a frightening disruptor of domestic tranquility, the mysterious stranger becomes familiar and a projection of grappling with one’s own mortality, dreams, and fears. The dedicated ensemble and the music, which blends familiar sounds with ‘new’ tones in an associative manner, have achieved a timeless children’s play (recommended for ages 7 and up) that visibly impressed both young and adult audiences at the premiere.”

“It is an art fairy tale, devoid of simple moralities, instead enlivened by mystery and poetry. It tells of the transient and that special state when old people approach childhood again.”

“The performers are first-class, all acting with clear diction, never overplaying their roles. In the case of the family (Anna-Sophie Kostal, Tom Kofler, Florian Stanek), they deliver the short songs with exceptionally lovely voices. The ‘old man’ Klaus Huhle performs almost entirely pantomimically, at times so touching and intense that one can’t help but feel deeply moved. (…) While the material isn’t funny, offering no joyful message or happy ending, what’s crucial is this: the young audience, mostly between five and twelve years old, remains captivated throughout the 50-minute duration. They are more interested in the broader connections of the story than in the details of the performance and props. After the final applause, a variety of questions fill the emptying room, demonstrating that each person has had their own thoughts and has connected various, likely intended, aspects.”

“In these fragile-sounding and visual spaces, Rainer eschews grand effects in favor of spotlighting the actors whom she places at the center.

Knowing, resigned, in the eye of the hurricane, Heinz Trixner, who in Prospero may have found the ultimate role of his life.”

“In terms of content, Prospero’s process of self-discovery remains clearly central, the struggle for dominion over others and over oneself. In Rainer’s interpretation, this is a proclamation of the power, violence, and authority of thoughts to create worlds: ‘We are made of the stuff that dreams are made of, and our life is encompassed within a sleep.'”

“Literature and Theater. Spectacular “Lenz”.

Brilliant “LENZ. “A star is born”, one could say about Cornelia Rainer, albeit she has already accomplished a lot, directing at the Burgtheater-Vestibül and the Hamburger Thalia Theater.

Cornelia Rainer presents a 100-minute tour de force about the Sturm-und-Drang poet Lenz at the Young Directors Project in Salzburg – with Markus Meyer as a brilliant protagonist.

A wooden roller coaster frames the stage at the Salzburg Republic: “Montagnes Russes” was the name of this amusement park attraction in old times. This is also the name of the group that premiered “Jakob Michael Reinhold Lenz” at the Young Directors Project of the Salzburg Festival on Friday evening. The son of a pastor and poet, Lenz (1751–1792) revered Goethe, who dropped him because Lenz did not dress appropriately for court society. Lenz fell in love with Goethe’s friend Friederike Brion, but his passion remained unrequited. Lenz suffered. He is considered a saintly pillar of wild artists; his most famous work is “The Tutor,” adapted by Brecht. Büchner wrote a Novelle about Lenz, in which he talks about can der Realität der nur nach ihrer dass important sich die so heute das Sturm- wurde, die Frage, so über die Grenzen, Mängeln der Vernunft, sterben in der Mainacht in Salzburger.”

“Lenz in hopeless madness.

(…) At 30 years old, Rainer uses Büchner’s text as a starting point. In the Büchner setting, she aims to make visible the total drama of this restless life. She does so by depicting an eternal conflict between a frantic struggle and a massive, rigid societal system.

To achieve this, she incorporates historical material, such as original quotes from Oberlin’s sermons. The result is a finely crafted evening of theater, employing subtle means and an enchanting soundtrack, which strives not to take sides but reveals a certain affection for Lenz. However, there is no good ending to tell about him. Lenz will die, lonely in a May night in Moscow. Illustrative of this path to nothingness, Rainer focuses on Lenz’s time with Oberlin, where she allows him to wrestle with a possibly healing belief in a firmly established divine order and his drive for self-determination, his self-destructive madness included.

In the end, the respectable family has sent him away (or did he leave on his own?), tidying up what was devastated, he lies on the stage floor, dead, lost, forgotten. This is how he lay there when the audience entered the hall. Amidst this portrayal, Markus Meyer brings him to life, gently and tumultuously. Opposite him is Manfred Böll as Oberlin, whose severity and fervor of faith, along with his family’s submissiveness, sometimes come across as rather stiff.

Rainer shows – calmly, but impressively and finely composed – a life breaking apart because it is difficult, if not impossible, for wanderers in search of a home for themselves to find a place.

For this, there was long and vigorous applause.”

“Rollercoaster of dark emotions. Salzburg – Respectful treatment of both the person and the subject: The critique of the premiere of ‘Jakob Michael Reinhold Lenz’.”

“The ‘Solo eines Königs’ is a proposal, and not a bad one at that. Brecht’s old (and good) question of whether we can adapt Shakespeare (Answer: Yes, IF we can do it!) is answered very positively.”

“Sven Eric Bechtolf returned to the Thalia Theater after ten years away as Richard II. The former Burgtheater actor, Becholf, is so convincing that, there is sustained applause for his efforts.”

“The infallible sense of tempo that Rainer demonstrates over ninety minutes as well as the amazing precision with which she directs even small scenes leaves no doubt: this is not the last you will hear of this director.” 

“Cornelia Rainer, who already made a splash with her self-written play ‘HEIMFINDEVERMÖGEN,’ elevates speechlessness without theatrical effects.”

“She consistently fills the space with wit and intelligence, sometimes seeming to know more than the author about what each character can and should accomplish.”

“An evening that lingers in the memory. The entertaining opening of “Kunst aus der Zeit”ended with prolonged applause, Bravos, and a musical encore.”

“Older people from the Bregenz area, speaking as amateur actors – almost from the audience itself – deliver touching, empathetic texts about successful love in the context of music. These texts retrospectively condense into poignant life and love stories.”

“Under the direction of Cornelia Rainer, the texts explore the spectrum of human emotions, with themes of loss of a partner and longing for times long past recurring throughout. The texts are fascinating enough to move one to tears and then to laughter. ‘Only one Face’ is neither an opera, nor a musical, nor a concert. It is extremely entertaining, enchanting, and bittersweet. The audience gave a huge applause.”

“plus zero five point calm” not only provides the weather forecast but also a panorama of concealment, of halting dialogues and of alienation between generations. In the narrow chairs in the Burgtheater Vestibül, the physical proximity to the person sitting next to you eventually becomes equally as constricting as the distance between the actors on stage.” 

“Cornelia Rainer interprets the successful play by Finnish playwright Maria Kilpi as an interplay of distance and closeness. The protagonists resemble speaking robots who engage in a fierce verbal exchange and still talk at cross purposes. Cornelia Rainer delivers a convincing Austrian premiere. Measured by the applause, the audience seems to have felt the same way.”

“Cornelia Rainer’s text, drawn from numerous conversations, is often austere due to the banality of everyday life, yet imbued with metaphors of waiting and return, making it simultaneously gentle and poetic.”

“Pigeons might not be so dumb after all.”