Although it is not Frank Castorf died, but Bert Neumann, but in a certain way it is the same. All know Castorf, the People’s Stage boss, not so many know Neumann, his set designer. Yet Neumann had since 1988, when he was 28, on the side of grumpy charismatic -. His Siamese twin, his invisible friend, the raven on his shoulder the magician
The theater is indeed by nature a darkroom. Rooms are nothing that is somehow given, but only gradually peel out of the darkness. In most productions of other directors on other platforms you do not notice it. As the light passes though in the beginning, but then right back on. The actors wink Hello and start playing. That was in Neumann Castorf theater always different. Neumann stages are states of mind, and who are mostly illegal – after all, we are talking about people who the GDR had behind them when they suddenly found themselves in possession of a theater, and the squeaky clean grinning capitalism also promised the world.
“Do you build a stage, and he looks like he can handle it,” said the late nineties, the “Time” – “he” was, of course Castorf. Neumann replied: “He takes it as natural, indeed, and a resistor is more interesting than annoying for him – because he then has to invent what I know many directors who say..? What do you have there hingebaut no door The I need But! Castorf developed a fantasy that solves different. ” And after that brought a declaration himself, the socialization in the GDR into play, born out of necessity virtue, to make productive and obstacles to circumvent bans. “It was,” concluded Neumann, “only the infiltration.”
That made the Volksbühne has become such an infiltration Theater, has so decisively to do with him , He invented, with his graphic design studio LSD, which included his wife, the grotesque Logo of the house, the wheel on two legs, is about the often rumored, if it were a medieval warning, robbers were in the forest.
Neumann was, like Castorf that theater really care less. That’s probably the only way to love it. And to respect it, which is indeed the same. Because he preferred the film, the emotional force, for example, the close-up, he soon built spaces that could not see the audience. It was for people’s theaters newbies a frustrating experience to sit there, the, huge projected four or five hours, which just took so a Castorf evening, and to count only Martin Wuttke pores on a canvas that hung by the way mostly himself unfavorably, while Wuttke in any room further fooled around below with Kathi Angerer and Jeanette Spassova and slipped on banana skins.
That was sometime around the turn of the millennium, it had once again stress given to the Senate fight over money, Castorf (and Neumann) had said: “If the budget is not increased, we leave the city.” Then it was summer break, all sat in the shade and puzzled: What are they doing, go now real? Then came the autumn, and on the roof of the Volksbühne, this beautiful Modernist pad at the edge of the Scheunenviertel, appeared new letters in Fraktur, also an invention of Neumann, the now ubiquitous corporate design of the house, in the form of matchboxes and other frills, effective and ironically, hemdsärmelig and sensitively – in any case stood there: “The Idiot.”
Curious went one, thought, okay, they’re probably still buckled, the coal did not come over, but they do not draw the conclusion. And was asked to balance over the floor, in the middle of the huge revolving stage, the hitherto only considered unattainable longing, where a multi-storey scaffolding loomed, one climbed a ladder, everywhere stood chairs. It was even become part of a Neumann-stage, the “New Town”, an architecture which has become inner emigration. It was so much fun.
All of a sudden they understood all the screens, the TV and big red noses around wobbled on them. From then on, it did not matter if you like in Munich two or three years ago, when Castorf’s production of Céline’s “Journey to the End of the Night”, for hours not a single actor got to face, even the screens were blank, because the cameramen not came in, in the Mikrokemenaten and hiding this giant adventure playground, this drunken wooden ship that stood around that. It was myself because that Neumann stages played, lived, they were their own attraction.
The last work by Frank Castorf led Neumann, irony Destiny, precisely in an old coffin factory on the outskirts of Vienna, where the dead so since time immemorial are as vivid as those who have yet to die before him. It was the conclusion of Dostoevsky cycle, this gargantuan undertaking to heave all novel monsters of borderline Russians on the stage. In “Humiliated and Insulted” Wuttke and Angerer were driven ice on a frozen swimming pool years ago or had gehascht like cartoon characters that before getting anywhere, only times by turning for a while on the spot.
Meanwhile, Neumann had said goodbye to such antics, he built rooms that had no bragging needed a room here because a staircase, a long wooden gallery in between, a stage as an Depression. If the “Festwochen production” starts in Berlin in the autumn, should, so you can hear, be the soil completely asphalted. In Vienna, the actor stopped by just for an evening, the episode performances were canceled due to exhaustion. So an overtaxing Theater is the one that makes the audience ready, demanded them a willingness to boredom that borders on torture. Those who remain seated anyway – the Viennese “Brothers Karamazov” lasted seven hours – will eventually be rewarded with a kick, as no artificial fog would then blown through the area, but opium
Neumann Castorf were namely the most astute children of Marx and Coca-Cola, because they had figured that opium was a great thing for the Volksbühne, no rebellion without ecstasy, pray tell, they were declared hegemons an anarchic hedonism. In “time” interview from 1998 Neumann said: “Today is a constantly asked the question:?. Is it worth the This question, I hate her because she’s a killer argument for everything fun The best things have not materially but only ideologically expected – but that is the decisive added value “
He pottered in his studio in Prenzlauer Berg to himself, surrounded by tubes and exposed! walls, in an environment that is already half itself looked like a Neumann-stage, just without all the flashing lights, no military helicopters and sharks and larger than life Teddy bear, as in the recent René Pollesch-exploit “No one can be found beautiful.”
Since Fabian Hinrichs runs with the most melancholy good humor that you can imagine, by the area. There is really nothing there, everything is empty, except for a glitter curtain and a plastic sheet floor of red and white stripes, like a gigantically inflated shrink form the American flag (shrink form because the star is missing). Hinrichs speaks of love, he complains that it is missing that one seeks to Tinder, on a Iggy Pop concert at which you go or not, because you prefer to “Robocop” peeps. It has made such a fantastic evening, because he is nostalgic, yet completely present. “In front of a large silver vaudeville Curtain”, Neumann said, “I can make texts only in the extreme, not in a moderate central position. Only extremely low or extremely loud.” Hinrichs does both:. Extremely quiet and extremely noisy at the same time
That this happy era is coming to an end, is yes has been around for a while. The city of Berlin has decided the annoying, narcissistic grumblers Castorf throw out and replace it with the well-groomed beard Chris Dercon, say about the so great actors like Ignaz Kirchner, they believe the do not care so for the theater. In an interview from the spring Neumann announced, rather than continue in a Streamline Volksbühne, he’d rather do on a tattoo parlor. This is now no longer necessary. With sadness and bewilderment you take these early death with only 54 years of knowledge. You would have never tattooed anything in life, the only exception would have been Bert Neumann’s Volksbühne wheel.
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