On Sunday evening, the Salzburg Festival unveiled its latest production of Elfriede Jelinek’s provocative play Unter Tieren (“Among Animals”) on the Perner Island stage in Hallein. Directed by Nicolas Stemann, the four-hour performance drew widespread attention, particularly due to its unconventional structure and the rumored involvement of tech billionaire Peter Thiel. The play, which serves as a sharp critique of capitalism and financial exploitation, was presented as a sprawling “text-happening” with no scheduled intermission, though monitors in break areas broadcast live footage during the audience’s optional departures. This format echoes Stemann’s earlier work on Jelinek’s Die Kontrakte des Kaufmanns (The Merchant’s Contracts) in 2009, where similar dynamics were explored. The production features a cast including Mavie Hörbiger and includes elements of satire and commentary on modern finance. According to reports, Stemann had reportedly extended an invitation to Peter Thiel, a prominent figure in Silicon Valley, to participate via a live video link. However, Karin Bergmann, director of the Salzburg Festival, clarified in the Salzburger Nachrichten that there had been no formal request for Thiel’s participation. Instead, she suggested that his image might appear in a section involving artificial intelligence, described as a “satirical approximation.” Whether this would materialize remained uncertain at the time of the premiere. The play itself centers around a critique of global financial systems, exposing crimes such as fraud, money laundering, tax evasion, and the opaque flow of capital. Jelinek, known for her unflinching portrayals of power structures, uses the metaphor of animals, such as foxes, donkeys, rabbits, and even a symbolic “Lamb of God”, to comment on human behavior under capitalist pressures. The narrative unfolds through the perspectives of these creatures, who observe and lament the destruction wrought by human greed and technological advancement. Among the figures scrutinized are politicians, business leaders, and banks, including names like René Benko, Wolfgang Porsche, and Sebastian Kurz. The staging was ambitious, with a large ensemble performing in elaborate costumes and using multimedia elements to enhance the theatrical experience. One notable moment occurred when the character of the donkey was removed from the script due to time constraints, prompting the audience to chant “E-sel!” (Donkey!). This led to the introduction of a placeholder, a digital representation of Thiel, generated by AI technology. The AI version responded politely to questions posed by Stemann, offering a satirical take on the real-life figure’s influence over financial markets and political landscapes. The production also featured a range of performances, including a segment where actors in fat suits moved through the audience, engaging them directly. Another highlight was the participation of a musical group, the Oberalm Orchestra, whose melancholic march underscored the emotional tone of the piece. The set design included references to real-world scandals, such as the abandoned luxury mall project on Mariahilfer Street, symbolizing the collapse of speculative investments. The play’s themes resonate strongly with contemporary issues, drawing parallels between fictional scenarios and actual cases of economic misconduct. Jelinek’s text weaves together political theory, historical context, and biting humor, creating a layered critique of modern society. The performance received enthusiastic applause, with standing ovations marking its debut. It will continue to be staged throughout August and into early September at both the Salzburg Festival and later at Vienna’s Burgtheater. The controversy surrounding Thiel’s potential involvement highlights the intersection of high culture and corporate power, raising questions about how public institutions engage with private interests. While the festival denied any direct collaboration with Thiel, the inclusion of an AI-generated likeness suggests a deliberate attempt to reflect on the role of technology in shaping public discourse. As the play continues to tour, audiences will have further opportunities to engage with its complex narrative and its implications for understanding the forces that drive modern economies.
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