We live in a “time of the open form”, not a classical theater text made it into the selection, the Theatertreffen 2016 brings adapted films, novels and “overwritten” dramas. Thomas Oberender, Director of the Berliner Festspiele, has the ten productions not even picked out, the concerned in a laborious process, the jury of critics. But he makes the decision research inherent in his speech at the opening at the Festspielhaus, raves about “new rituals of encounter, new forms of theater” and, although this is not to deny the “transition to the next generation.”
globalization and digitization changing aesthetics and platforms in a country with the world’s highest density theater as Monika Grütters not gets tired of repeating. In her speech, the minister of culture is ready to fight and defend the cultural landscape, which in many places is threatened, in Rostock, Plauen, Dinslaken, Neustrelitz.
The German Schauspielhaus Hamburg is naturally one of the big fish, its director Karin Beier was also invited even more to the Theatertreffen. Your “ship of dreams” is at first glance the perfect opening ceremony. Large fabric, large ensemble, great political topicality. Karin Beier has Federico Fellini’s film of the same name hijacked for a “European Requiem”. That was the cinema fantasy from 1983 already. An opera company accompanied the ashes of beloved diva on her last trip across the Mediterranean. It is 1914, the ship gets caught in World War fronts, taking refugees, is sunk – and the decadent cargo can not do that under
A silly evening
Karin Beier it runs. gross. She has only scorn and bad jokes for her spleeniges, Divided artist folk. Waiting for the urn shedding: The first part looks like a weak Marthaler evening. Musicians and actors are bored more or less entertaining on cruise ships. Clear, one also has his fun with Lina Beckmann, Josef Ostendorf, Charly Hübner. But Karin Beier arranges every gag announcement that runs back and takes its abrupt transition in the second part of soon three and a half hour event -. Then no matter Marthaler, but a bad Maxim Gorki Theater copy is
A group of African performers takes command. rescued from the sea refugees, the situation is described. Dopey for luxury passengers. Now there are only times comedy to get to know. Germany as a dying nation, with nice photos from the retirement home, which is quite funny. Let’s not talk of it, which was a giant Fellini and that he goes overboard here. The question is: against whom is this? What is the self-hatred? The director is involved with the Schauspielhaus in Hamburg proper life hard for refugees and then provides a bunch of selfish, stupid and in very the heart of racist Artists types on stage. Africans play nice at all clichés and from. Strong men, sexy can, great dancing, the poor devils, bring here’s vitality and rhythm in the secured and blessed, but gray Central European everyday, make a racism-quiz with the audience. Why this artificial confrontation
A silly evening, antiracist racism, evident already in the program:?. The whites have roles with names that Black play themselves two-class society. Maybe it works in Hamburg? At the party afterwards were to hear “the dreams ship” ugly things about this. Unfortunately, almost all true.
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