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Le Malade imaginaire ( Der eingebildete Kranke)
(Molière / Thalia Theater Hamburg)

Content: Mr. Argon firmly believes that he is ill. Patiently he submits to all the incorrect instructions of quack physicians, carrying them out painstakingly.  Without this imagined illness Argon would be, albeit not all there, a though good-natured head of the family. But in his imagined illness he becomes a tyrant towards his daughter Angelique and a tool in the hands of his legacy-hunting second wife Belinde. He is taken for a ride by doctor Burgon and by chemist Fleurant. He knows that but dares not in his imagination to fight it. He intends to test his wife by feigning death, but superstitious as he is, he believes  firmly that this feigning would harm his health.  All the same, as an apparent dead, he has seen through his wife and also allows Angelique to marry Cleante, her lover. The doctors are played pranks on. Argon’s brother Beralde calms the hypochondriac  down with the pranks of pretending a doctor’s promotion. (Source: www.klassiker-der-weltliteratur.de)

Production: Leander Haußmann
Cast: Ezard Haußmann (Argan), Hildegard Schmahl (Toinette), Marina Wandruszka (Béline), Sylvia Schwarz (Angélique), Hartmut Schories (Monsieur Diafoirus), Andreas Pietschmann (Thomas Diafoirus), Xenia Snagowski (Louison), Dietmar König (Béralde), Peter Jordan (Cléante), u.a.
Premiere: March 21, 2001

Press

“Around him theatre is also played passionately. Singing master Cléante (Peter Jordan) dares to crack jokes about doctors, whilst Thomas, designated by Argon as his son-in-law (Andreas Pietschmann), can practice his effect as a “sleeping drug”. And health-freak Béralde (Dietmar König), too, loses out in this production: he dies from a fruit allergy. The lively performance reaches its climax when a spectator is dragged on the stage as a blood donor.” (Hamburger Morgenpost, 3/29/2001, Brigitte Scholz)

“Without betraying Molière - who once on stage while playing the role of Argon, suffered from a dizzy spell and died - Haußmann has created his own version, transferring the subject into our present day and age.” (Spiegel Online)

Report on the Play: (www.spiegel.de)

 
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