Balance sheet of 53. Berlin Theatertreffen: So much presence was never – Tagesspiegel

18/05/2015 18:52 clock Christine choice

The very last performance Frank Castorf’s “Baal” production at the Berlin Theatertreffen caused quite a stir. Much to the delight of the outgoing People’s stage director. A balance sheet.

“135 to the First, Second and Third!” The last card for Frank Castorf’s “Baal” -Gastspiel actually comes for 135 euro under the hammer. A beglückter Swedish actor – Castorf avowed fan of the first hour – they bought, for more than twice the normal selling price. Tickets are ultimately highly coveted, since we know that the “Baal” performance for the finale at the Berlin Theatertreffen while the last one will ever be. The Brecht-heirs had let the idea of ​​the Munich Residenz Theater, which charges the piece with texts from “Apocalypse Now” to Rimbaud, from Sartre to Frantz Fanon, prohibit qua court ruling.

So sits a charming Restbestandsauktionarin before Haus der Berliner Festspiele – of course in the service of the good cause: “The proceeds will go to 100 percent of the bitterly threatened Brecht Heirs”, stands in Volksbühne affine irony on a sign. And right next to it: “Castorf goes” (Frowney), “faithfulness remains” (Smiley)

In general, is the first public appearance of the Berliner Volksbühne director Frank Castorf since fact created by Tim Renner and Michael Müller. that the cult stage 2017 goes to the “East” label to the museum curator of the Tate Modern in London Chris Dercon, even in the dead Wilmersdorfer west a big home game. Less than three steps away from the auction as of crowds at the Signature Initiative “Volksbühne must remain”. And Castorf himself gives in laconic top form when he accepts the Theatertreffen trophy after the performance: he had to wait to be finally banned again forty years, kids of rich socialist labor aggravation experience director for Brecht Erben-Casus whimsically in the round.

Castorf discovered an ingenious shortcut that Brecht actually unlocks for a very uncomfortable presence

On the stage, however, keep the puns in limits. Once Bibiana Beglau squats as “Hell wife Isabelle” in front of a stately Umzugskarton and moans about the many “foreign texts”. And her colleague Götz Argus sings in a funny monologue hymnal a “very special person”, namely “the Claus” from Brecht-Theater am Schiffbauerdamm, which will now be deported disdainful in the pension. Namely – Argus Eye roles – “not the only” under the much-vaunted “old bags”! Loud laughter in the stalls, and later, during the final applause, a standing ovation for Frank Castorf.

Otherwise discovered Castorf in “anti-social”, selfish every law trespassing human and especially women Devourer Baal rather seriously the colonial conquerors. In war, where the (legislative) is transgression to serial killing the rule, is the uncompromising selfish character not only to Normalo but for socially legitimized heroes: A rather ingenious shortcut that Brecht actually unlocks for a very uncomfortable presence. This Baalsche colonialist, therefore we (Europeans) par excellence, runs in Aurel Mantheis representation always kopulationsbereit in black panties by Aleksandar Deniks revolving stage world; rushes four and a half hours from banquet to opium den, from army helicopters to nightclub, lunges at Sophie (Andrea Wenzl) or buddy Ekart (Franz Pätzold) just greedy as the next best pig carcasses and occurs – einmontiert in Francis Ford Coppola on screens flickering Vietnam war film “Apocalypse Now “- apparently directly with the film characters in dialogue. An enormous physical strength, which, repeatedly deconstructed the horny Berauschungsbilder facing even the smartest and most committed anti-war film is not immune consistently into Broken