Before they started working on the video footage they had conducted a small study on Georg Trakl’s work. The poet himself was one of the most important Austrian Expressionists. As an avant-garde style, Expressionists cherished more emotional experience over physical reality. The starting point for them was to watch Werner Herzog’s “The Enigma of Kaspar Hauser”. The movie had inspired them to carry out another research on Georg Trakl. This time they were studying the importance of colours in Georg Trakl’s poetry. The Kaspar Hauser Song incorporates colours into a text as much as the other poems by this poet. The main four colours they were focused on were: crimson, green, black and silver. According to Wiesław Trzeciakowski(Kolorystyka wierszy Georga Trakla”,kwartalnik-pobocza.pl) we could ascribe to each colour certain emotions and feelings. Therefore they tried to use those four colours as a foundation and structural framework of my film. Additionally they brought to the film an experimental/improvised music by Fanfare, a perfect background music based on live instruments and free unspoiled expression.
Idea and Animation: Susanne Wiegner
Poem: Georg Trakl
Voice: Christian Reiner
The poem “Kaspar Hauser Lied” by Georg Trakl was written in 1913. Kaspar Hauser (30 April 1812 (?) – 17 December 1833) was a German youth who claimed to have grown up in the total isolation of a darkened cell. Hauser’s claims, and his subsequent death by stabbing, sparked much debate and controversy. (Wikipedia)
The visualization of the poem is based on the inscription of Hauser’s gravestone where you can read in Latin: “Here lies Kaspar Hauser, riddle of his time. His birth was unknown, his death mysterious.” In the film, the typeface is three-dimensional and builds a sequence of spaces, that is passed by the camera. Images and videos are projected on the letters, that lights up in the dark like kaleidoscopic smithers of memory. By these means the epitaph becomes the abstracted path through Hauser’s life from the subtle, slightly colored experiences of nature to the gradually darken spaces of civilisation, to a confusing labyrinth. Towards the end of the poem, the camera leaves the typeface, the script becomes flat again and one realizes Kaspar Hauser’s headstone.