Political theater in Dresden
Pegida spells and a basic course in Arabic Studies: With a double whammy, the Staatsschauspiel Dresden will be great political theater.
No theater comes to the swelling Bock chants, to the militant Selbstvergewisserungsversuchen where past what happened to always yet fertile wombs currently crawling again. At Dresden Staatsschauspiel is fought in a special way to answers and the matching funds. After six years, his team director Wilfried Schulz and despair felt in these narrow-minded people of Dresden.
The new focus and political positioning of the last season before Schulz change to Dusseldorf, seems also like a flight forward to from our own bewilderment. If you add to a Volker erasing outdated and the Dresden citizens chorus summoning again after four years, you know the house, what you want. And if the subtitles for breakfast presentation of Max Frisch’s “Count Oderland” “We are the people” is, one suspects already recognize that Pegida will be demonstrated.
But a limitation would fall short. It’s about a widespread muffled protest against a state of agony in “Barren Land”, for the fresh 1951 was amazingly striking words: “… where one out of spite lives every day, not from joy … it does not grow us the leisure to trees , the serene, fearless, free … “
It smolders and smokes, shimmers and billows in the language and in the threatening video backgrounds of Clemens Walter. Particularly in eastern Germany can be found for terms: disorientation, sense of emptiness, dashed hopes and promises of the alleged change for the better. The Citizens Chorus reported passionately from feeling jam, which discharges itself against refugees.
A portent
In Max Frisch a prosecutor discovers his sympathy for a murderer who apparently without Motif, just out of frustration, murders. The prosecutor found the same void in itself and becomes the leader of the discontented. A parable on seizure mechanisms and a warning sign that can happen when there are “people and leaders.” The piece provides the framework for Pegida- and sociologist quotes, own choir Texts and as in 1989 “for her roles” kicking actors that fit amazingly seamlessly into this template.
Peoples extinguishing familiar when evil Pegida original citations on stage still on resistant germs of an enlightened and waking consciousness of the audience. On the other hand, he relies on empathy when he can simply speak the reports of ill-treatment of young people and the simple answer of Syrian Yussef on desert refugee insults for himself.
speak for themselves and the Actor. They would like to talk for more than Dresdner for those who applauded standing six minutes at the end. The leading actor Ben Daniel Jöhnk and Lea Ruckpaul appeal with Verve, finally do something to leave “sociologist views”.
tolerance against Nazi poison
Annedore Bauer etches the most outspoken against 25 years of ignorance and tacit tolerance of the CDU against the Nazi poison which had radicalization abetted. This can not be dismissed as agitprop given the situation. It is also not a cabaret when occur towards the end of the Commissioner with Sigmar Gabriel belly and the interior minister in the purple costume aunt of Chancellor. “You do not belong to us!” They shout, but in what a smug way, they partly already in the driver’s characteristic style from the “pack” distance themselves, in turn stoking more outrage against “those at the top”.
A brilliant staging, to which one must behave that not comfortable reclining on the” “allows the Reserve Bank. What if the “movement”, as in the play, actually accesses the ax, which of Pegida already invoked civil war all over Europe gathered?
supplements and beautiful contrast simultaneously offered then on Sunday “Tomorrow Land” in the intimate setting of the citizens stage. Let but the Arabs, the so enable us to panic, simply speak for themselves, the concept of director Miriam Tscholl could be formulated. Seven players, as “citizens of Dresden from the Orient” announced, some refugees living in parts longer here, go to the charm offensive.
Invitation to Tea
They offer a kind of taster Orient, the first place takes common stereotypes to poke fun, but more and more informed playfully. Man sitting casually at round tables in the room, drinks black tea and gets each for five minutes visit of one of the players.
The scraps are sometimes among themselves when about to religion, the role of women or premarital sex goes, and to prove this much emancipated looseness and self-irony! More could have been wished by the home phone calls at the end, in which the actors share their observations about us and our “spiritual dryness”. A cheerful Grundkurs Arabic, as it should be mandatory for every Pegida protesters.
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