“Correction” is a play about the mechanisms of memory and rumination, recollection, reminiscence, and erasure, in which certain rites of the past refuse to quit, and the more they are deemed “dead,” the more they live their own peculiar lives. Pursuing the concrete, the material, or the intangible detail—the glances of sisters, a mother’s neck and shoulders, Leitz file folders, the stucco of a childhood villa—the creators of this production have culled images from Bernhard’s work in series of repetitions, loops, and borrowings.
Thomas Bernhard kept “Correction” in a drawer for several years, making the novel his last to appear. He wanted to give the weight of a last will and testament to Franz Murnau’s monologue about severing himself from the Nazi past and his own family. Twenty-one years after the first and only Polish staging of Bernhard’s most famous novel, directed by Krystian Lupa, the creators of this play are trying to insert other voices in “Correction,” including a female perspective, grasping its formal excess, playing with it not only in the dramatic monologue, but also in the organization of the space, body movement, and music.