-
Im Palast um vier Uhr früh
- Ein Hörspiel von Peter Eckhart Reichel
- Narrated by: Dána-Maria Dewernry, Thomas Fedrowitz
- Length: 1 hr and 10 mins
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Publisher's summary
Im Palast um vier Uhr früh
Ein Hörspiel von Peter Eckhart Reichel
mit Dana-Maria Dewerny und Thomas Fedrowitz.
In einem der heruntergekommenen Ateliers des Gebäudes Rue Hippolyte-Maindron 46 im 14. Pariser Arrondissement. Eine Sommernacht des Jahres 1933.
"Den Schweizer Alberto Giacometti lernt sie kennen, als er an seinen surrealistischen Objekten arbeitet. Meret Oppenheim besucht ihn ab und zu im Atelier, hielt sich hier stundenlang auf und zeichnet eines Tages "L'oreille de Giacometti", das Ohr des Künstlers." (Bice Curiger)
"Dieses Atelier im Erdgeschoß kann übrigens jeden Augenblick einstürzen. Es ist aus wurmstichigem Holz, aus grauem Staub, die Statuen sind aus Gips, zeigen die Schnur, das Werg oder ein Stück Draht, die Leinwände, grau bemalt, haben seit langem die Ruhe verloren, die sie beim Farbenhändler hatten, alles ist fleckig und brackig, alles schwankend und nahe dran, einzustürzen, alles neigt dazu, sich aufzulösen, alles fließt: aber alles ist wie in einer absoluten Realität gefasst." (Jean Genet)
"Aus seinem Atelier in der Rue Hippolyte-Maindron, das etwas von einem Schuppen, einem Wohnwagen hat, macht er durch seine bloße Anwesenheit einen Palast." (Patrick Waldberg)
Die Skulptur "Der Palast um vier Uhr früh" aus dem Jahr 1933 bezieht sich laut Alberto Giacomettis eigener Aussage auf "einen Zeitraum von sechs Monaten, den ich in der Gegenwart einer Frau verbrachte, die alles Leben in sich konzentrierte und mich jeden Augenblick in einen Zustand der Verzauberung versetzte. Wir errichteten in der Nacht einen fantastischen Palast - einen sehr zerbrechlichen Palast aus Streichhölzern. Bei der kleinsten falschen Bewegung stürzte ein ganzer Teil ein. Wir begannen immer wieder von vorne."
Dieses Hörspielmanuskript entstand bereits im Jahr 1999. Damals wurde es von allen Hörspielredaktionen der öffentlich-rechtlichen Sendeanstalten abgelehnt und verschwand anschließend für 25 Jahre in einer Schublade des Autors. Zum Zeitpunkt seiner Entstehung war an eine Eigenproduktion allein wegen fehlender technischer Möglichkeiten überhaupt noch nicht zu denken. Dies hat sich erfreulicherweise grundlegend geändert. Der Hartnäckigkeit der Sprecherin Dána-Maria Dewerny ist es jedenfalls zu danken, dass sie nach einem Hörspieltext suchte und sich schließlich für dieses Manuskript entschied. Ein glücklicher Zufall wollte es auch so, dass sich der Sprecher Thomas Fedrowitz ebenso für die Thematik wie auch für den Inhalt begeisterte und er sogar über ein eigenes kleines Wortstudio verfügte. Innerhalb zweier Aufnahmesitzungen waren die Dialoge eingesprochen. Die Postproduktion und Regie übernahm schließlich der Autor selbst.
Coverabbildung: Unter Verwendung einer Schwarzweiß-Fotografie von Ernst Scheidegger. Sie zeigt eine Skizze für "La Femme au chariot" an der Atelierwand Giacomettis. © copyright by ernst scheidegger./ stiftung ernst scheidegger archiv. Coverschrift gesetzt aus der Impact und Book Antiqua. Musik und Kompositionen: Unter Verwendung von Ausschnitten aus Estampes, L. 100 - 2. La soirée dans Grenade (The Evening in Granada) von Claude Debussy / gespielt von Glen Hoban (Musopen) und Motiven von Johann Sebastian Bach / Cello: Aleksandra Walczak. Alle anderen Sounds & FX: freesound.org. Hiermit wird ausdrücklich darauf hingewiesen, dass die natürlichen Stimmen dieses Hörspiels nicht für KI-Anwendungen oder durch ähnliche Sythetisierungen verwendet werden dürfen, noch zu speichern oder zu nutzen sind. © 2024 hoerbuchedition words and music.
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