Holds down there on stage really the President addressed? But no, impossible, yes sitting in the audience. The man in the black frock coat, who sees the who traveled to RuhrTriennale premiere Head of State Gauck so similar and speaks to the spectators in the stands, the actor Pierre Bokma. He preaches against the afterlife salvation of Christianity and passionately advocates a life in the here and now: “Remain true to the earth!”
Bokma is one of five actors who lend this evening Haroun her voice, the narrator camel Daoud’s novel “The case Meursault – a counter notification”. Johan Simons, director and artistic director of the Ruhr Triennale has, first adapted it under the title “The Tourist” for the stage and wanted to premiere a spectacular place: the former coal mixing hall of the Auguste Victoria mine in Marl, which in until last year operation was.
the book of Algerian journalist Daoud, upon which the evening is, in 2013 appeared and was in France, but also with us a bestseller. Its highlight is, it formulated the publisher: “This novel is the nameless dead from the classic, Strangers’ of Camus a face.”
charge against Eurocentrism
Camus’ novel from 1942 is the portrait of a man named Meursault who shoots an Algerian on the beach in Algiers, in the book only called “the Arabs”. Kamel Daoud has this dead almost 70 years later invented a little brother, Haroun, who tells an old man to a journalist in a bar in the event from his perspective. Moussa was admired big brother, who coined as space life of the narrator and his mother.
Daoud’s novel tells no real history, it is a state description. In loops Haroun travels through his thoughts and memories and also provides an insight into the tough existence of people in Algeria after-won independence from France in 1962. Again and again the narrator returns the book to the offense that the Nobel Prize winner Camus the victim in his Roman name was not even worth – a legitimate case against the Eurocentrism that is all the rage our time
How do you make it now a theater evening which to fill even a large room.? Johan Simons chooses a mix of drama, music and film and can announce it as “political theater music”. The music moves and visually into the center: The amazing Dutch Chamber Orchestra Asko Schönberg headed by de Leeuw sits in the middle of the playing surface, which is limited to the back of the gigantic carbon blender
The five actors sit. standing, running, prancing, hopping around the musicians around, only in blue overalls, later in a classic suit or a blouse. They are all Haroun, carrying the fly monologically his memories and theses ago, tell of his life in a colonized country, his love for the educated Meriem and his rejection of religions. In between, indicated only sketchily, they play the few scenic passages that will bear the book, and Benny Claessens reads in nölenden sound an unwilling student prior paragraphs of Camus’ book. The music from Mauricio Kagel and György Ligeti underweight and paints the initially surprisingly elated.
Comment Burkini Debate
Captivating are the videos of Aernout Mik: It shows on large screens above the orchestra documentary material, apparent from the postwar Algeria: street scenes, festivals, civil war scenes – and again the situation, as French soldiers control as representatives of the colonial power Arabs on the street
a beach scene looks like a comment to Burkini debate: as you can see French. women lying in the sand in a bathing suit, veiled Arab women with waving in the wind headscarves go past them. They regard each other, but no one has to have the feeling to intervene.
has the second part, after one of the music throughout the field was left and Katrin Baerts in a fantasy language Claude Viviers “Bouchara” sung, diving on the screen to other images: one sees scenes as extras, adjust a refugee camp in that very hall where we sit now. The extras look European, one of them severely guarding policewomen wearing headscarves. Is this really necessary, before an enlightened audience again to raise the moral high ground: Imagine you were in this situation? And do please realize that colonialism and refugee movement related?
That the narrator Haroun is not shown by Arabs, but by a collective of European actors from different nations, Johan Simons explained in the program in accordance with the fact that this is the ” variety of angles “reflecting on questions of identity and alienation. The partly hard accent of a Belgian or Estonian actor (the say the words partially, as they had learned it by heart stubborn) as a representation of an Algerian who has learned French as a foreign language? Or perhaps as a concession that, is “The Strangers” a coproduction with NT Gent
Because if you look behind the images, the question remains: What exactly is the point of this evening? Had anything changed if an evil Kobolt the playbook once flung into the air and the sequence of scenes would have reshuffled? If anyone had the sheet music exchanged secretly and replaced by other works? And that has to do with the spectacular Hall Algiers? Is it enough that the picturesque whirling coal dust evokes associations of a desert landscape?
The evening is, in all workmanship of some arbitrariness and remains in its somewhat perplexed criticism of Eurocentrism surprisingly Eurocentric. That is, if you work with a purely European ensemble, of course in its way honest. It will be interesting what the Iranian director Amir Reza Koohestani from the fabric. The premiere is scheduled for the end of the month in the Munich Kammerspiele -. Johan Simons former workplace
” the stranger “, Further performances at the Ruhr Triennale, in the Auguste Victoria mine in Marl 3/7, on the 3rd, 4th, 8th, 9th and 10.9., www.ruhrtriennale.de
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