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This article aims to reveal the hitherto unknown circumstances of the creation of the opera "King Roger" ["Król Roger", premiere 1926] by the Polish composer Karol Szymanowski (1882-1932). As will be shown, this opera, with its oriental color, owes its genesis to the concluding of what we call "an emotional pact", referring to the 1918 meetings in Elizavetgrad, and then in Odessa on the Black Sea, between the composer and his cousin, the prose writer and poet Jarosław Iwaszkiewicz (1894-1980). Their Odessa stay, in particular, fostered the crystallization of their conception of beauty, and allowed namely the Dionysian element to emerge. At the same time, Odessa was where the creators were able to share the secret of their homosexuality, a place which functioned as a substitute for the Orient and an escape from the nightmare of World War I - all elements that found a wonderful expression in the libretto and the music of "King Roger".
An der erfolgreichen Inszenierung "Verrücktes Blut" des Kreuzberger Theaters 'Ballhaus Naunynstraße' interessiert in diesem Beitrag vor allem die Bühnensprache und die Diskrepanz zwischen der Intention der Künstler und der Rezeption der Inszenierung durch das Berliner Publikum. Die Frage nach der Rolle der Ironie in der Bühnensprache des Ballhauses führt zur Antwort auf die Frage nach den Gründen für den Erfolg dieser Inszenierung.