“I’ve got it: nadryw! We write in Cyrillic to the Volksbühne. “That was in the penultimate SMS that I received from him, exactly one month ago. And that stands there now about the holiday on the so-called abdominal binder at the front of the theater obvious: a cryptic word in cryptic writing. Apparently old eastern secret knowledge. Only those who know Dostoevsky and can read Russian, understands or does not understand it. The word applies namely as untranslatable, and Svetlana Geier has let it in their new translation of the “Brothers Karamazov” simply are untranslated.
Nadryw draws its meaning from the context, as all words. It refers to a kind of surge that may be tearing of the skin if one expresses a pimple, but also a psychic tearing the face of an uncertain future and an oppressive presence, you can read at Google. For the word Dostoyevsky marked deeply unpleasant and highly exciting psychic states. It is the Dostojewskijwort par.
So it fits to Frank Castorf Karamazov-staging, which is said to have its Berlin premiere in the coming season in Bert Neumann completely paved space Volksbühne, as well as the current situation of people stage itself, which over the next two seasons their forced farewell, an end after 25 years, looks forward to. Because then is, it is the will of politics, get something completely different, which probably has to do with Nadryw little.
He set the trends
For me it was a great pleasure, as Frank Castorf and Bert Neumann asked me if I want to be there after nine years Volksbühne abstinence for these last two years again. And now after a month beautiful joint work this sudden, terrible, final farewell from the people without whom this theater is the least conceivable. Bert Neumann has the spirit and the overall picture of the Volksbühne since 1992 both internally and externally at least as strongly marked as the director himself. He sat from the beginning to the standards. He was the one who took care of continuity and always for the break. You can see the phases of the Volksbühne to the aesthetic changes that he prescribed the Volksbühne, divided. Only a phase made. Those were the two years in which he was not responsible for the presentation of the Volksbühne outwards.
The images that he created, and the associations that he unleashed, the specifications that he made his directors, decisions with which he confronted them and with whom they had to deal were trend-setting for each individual production and often looked back on the appearance of the Volksbühne in the city. Neumann’s work and perspectives have been deeply inscribed in the consciousness of Berlin and the theater at all.
He was the most supreme of all, and no one could hold a candle to him. What he earned, he represented cool and restrained and humorous. It was always amazing. And a major challenge for the other. It was directed not by trends or fashion. It set trends and influenced the fashion and advertising heavily. Was not only on theater stages and it is copied. The alleged East orientation came in the West, who lives by the new and improbable, good. He could explain his ideas eloquently, but he did not believe in words that always can mean something entirely different in their context-dependence if they are not always a lie.
Sensitive collectively
The first book that documented his work, had borrowed from Douglas Sirk titled “The Imitation of Life”. The Imitation of Life, which was also significant in the East after reunification, he took as an imitation of imitation on the stage. This dead life was alive again. With its rooms, which reflected our everyday reality and transcend and often filled the entire theater and in some cases only the eye of the camera were accessible, he made sense provinces that varies in other rooms for other productions found themselves, like the state changing Bungalows in Castorf early Dostoyevsky novel adaptations. Or the wooden objects in size, from the tank to the killer whale, which shaped a whole series of Polle scraping in recent years and, presented together, a gigantic sculpture exhibition would result.
Bert Neumann was much more than a set designer, he was a consistently stubborn artist who far from any theater clichés completely autonomous dealt with the material and still possessed the rare ability to work in collective contexts sensitively, without the slightest Dienstleistungsmentalität , His influence on the work of Frank Castorf and René Pollesch in particular, but also more generally to the development of the theater in the last twenty years can not be overestimated.
You do not talk about illness, which did not suit him, he has supplanted, we have supplanted, he was taken out of the midst of life, he was realizing full of new plans for the long goodbye that no one is now able to , An incredible abrupt crack. Nadryw. With Bert Neumann, the Volksbühne died two years before her possessed of the policy end.
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