The Greeks taught theater and true ecstasy. Just in time recalls the collective Troubleyn it with a 24-hour performance in Berlin.
> Scene from “Mount Olympus” of collective Troubleyn at the Haus der Berliner Festspiele | © Wonge Bergmann
“ecstasy”, call the title of Grill Magazine, Yoga schools and kale juices. Shopping is ecstasy, sports car also, it is pervasive and perhaps because there is no longer them. God is dead and the devil a Aluminiumdeo. It is a paradox: the more free to find a company, the less they allowed to delimitation. No smoking, snacking helmet wearing compulsory and just not too much gluten. This ecstasy was even more than the English translation of a designer drug. The ancient Greeks called ecstasy dance, love to eat. We owe a theater that lived through the human abyss and viewers redeemed by mere Watching from their own.
While the new Greeks hope for salvation of their money worries, thought the Belgian collective Troubleyn their heritage with a 24-hour Performance in the Haus der Berliner Festspiele. Mount Olympus was developed in collaboration of the choreographer Jan Fabre with the composer Dag Taeldeman, author Jeroen Olyslaegers and an ensemble of 27 dancers. For the duration of one day these dancers take on the big roles of ancient tragedies, from A to P Antigone as Pentheus. In between, they sleep. To bring order in the pedigree madness Greek mythology, here no intention, rather pluck one single narrative scraps out to them visually stunning need to be screened their Heutigkeit. Love, suffering, sacrifice, death, including making Mount Olympus is not.
24 hours Theatre? In Berlin there was the ever: Before he moved to the Munich Kammerspiele, the former director of the Hebbel adopted on the banks, Matthias Lilienthal, with a similar megalomania. A whole day took his interpretation of David Foster Wallace ‘ Roman Infinite Jest . Time also plays in Mount Olympus a major role, spent together and how gum stretching time.
Mattes Halbwachsein
Of course it’s boring when a performer handled several minutes with an iron chain; natural silence is unbearable when used as single optical stimulus provides a rigid naked male bodies; Of course, the three half-sets “ No “, “ Fuck ” and “ Take me ” excruciating after the three hundredth repetition. That Fabre time for such jokes takes (he has, oops, more than enough of it), is a gift that the charming addicted viewers should accept absolutely, and whether it’s because he’s so much thrown back on himself. Smartphones have actually break, but then, unfortunately, to be tweeted under the hashtag # mo24.
rise to crisp Tweets are plenty. Much like René Pollesch Fabre lets his performers scream her vocal cords, to exhaustion, even on the part of viewers. Spoken, shouted, sung is multilingual, and if you listen carefully, understand the urgency of drastic images. “Mountains of slaughtered meat”, “massacre”, “dictatorship of the Sun” – all violence has its origins in the word. So terribly as the themes of incest, infanticide, castration is the tone of the Greek tragedies. Whenever the suffering on stage threatens to become unbearable, the mood changes in the exact opposite, a matte Halbwachsein with dreamlike, reminiscent of Shakespeare’s Midsummer Night’s Dream sequences.
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