25. September 2016
Norman Hacker (l) and Christian Erd in a scene from “The dirty hands” by Jean-Paul Sartre. Photo: Reuters
The Munich Residenz theater starts with Schiller’s “robbers,” and Sartre’s “Dirty hands” in the game time.
at the start of a theatre season is gone in the Full. You want to scent marks set for the future. At the Munich Residenz theatre, it was decided for a weekend with two firsts. And continued to attack.
First, the Rapid roll over “The robber thundered,” by Friedrich Schiller. The Sturm-and-Drang Drama of the classic Punks is particularly suitable for the contemporary political charges: Who are the evil, violent robbers? Which group has sprung up there together to appreciate angry fire? And why?
Ulrich Speedy, responsible for directing, and stage, makes no secret of the fact that he used in his Work, like political situations, but only as an initial ignition, in order to lead his productions ultimately to the timeless General. In the “robbers,” he sees also a similar gesture, “the Genesis of a movement that lacks any political basis”. Consequently, he relies radically on the Form, namely the fascination of monumental Aesthetics.
Who may, comes fully at its expense. Of the more than three hour in the evening is carried by the hypnotic-forward advertisers Minimal music by Ari Benjamin Meyers (Tenor, bass-baritone, violin, Viola, electric Bass, and Percussion). In the center of the dark-heavy black-and-white image are only objects, two gigantic treadmill machines with 4 – or backward-going tracks, height adjustable and rotatable – monstrous Formations, which are, depending of the view your users, mercilessly in motion, or deliberately controlled. Pimp it up, Bro. The tapes rolling, and rolling, people run and run. Nobody gets in or out without the meniscus bruising.
Rapid shows a world that is inexorably set in motion, in a mass movement. The history of the unequal brothers Franz and Karl Moor is parallelized: each of The individually and pathetic-scale mono – and dialogue scenes in the Franconian home of the family of the Moor (Valery Tscheplanowa castle as sometimes hexischer Franz to appear only at the beginning of a gender component) are condensed here, and the mass scenes, a tremendously powerful composition of terror. With maximum effort Rapid to a Masculinity of militarism-machine, Franz Pätzold as angry and at the same time fragile leader Karl screwed protrudes. The rhythm of the music shapes the merged voice of the body, or is of the liturgically inspired and in swelling Loops cast choral speech engine vocal development?
Schiller’s “robbers” at the Munich Residenz theatre.
Outright this Perpetuum Mobile of a collective, extremely uniformed development is torn off from the force of not only the audience, but finally also “The robbers will rush”. At the end of the Evening, the hand-writing of the Director prevails and sinks the differentiation of the characters and their inner conflicts. Open-the order of violence. Swift longshot with totalitarian Aesthetics (Laibach and Rammstein will not let Hello) ends fortunately, after all, heroic: Beaten, Lost them all.
The day after, a Martin Kušej not the meta-physical-raw, but the analytically-fine blade. Jean-Paul Sartre’s 1948 written Drama “dirty hands” is battles an intellectual game of word, a teaching piece. Not Overpowering, but penetration is the means that is used here on the stage of the Cuvilliés-Theater. The place is a double wire fence cage in a dark, cellar-like neon light environment, in which all of the show from the beginning of their wounds, scars, and markings. In this Fight Club, it comes in a game of two men and two women ultimately to a two-fold Showdown: between Hoederer, a leader of the Communist party of France in German-occupied state at the end of the Second world war, and Hugo, to murder him on behalf of any other internal party grouping (as Hoederer wants to make a deal with the against the end of the war umschwenke the collaborationist government), and is murder.
Very close to the piece, and the Text of today’s conservative political and Moral substance of the second fight for the Whole: the Hugo, with herself. This exciting, long Moment of questioning of an individual according to its position in the mass of humanity runs, unfortunately, into the Void, as Christian Erdt looks overwhelmed as Hugo. The intellectual anarchists as one takes not him. Lisa Wagner as a terrific cynically light-hearted Jessica, who accompanied her husband, Hugo, and Norman Hacker, Hoederer as a paternal, human Realo-revolutionary debate, keep the always evenly tempered staging over the water.
The second battle for All
denotes Kušej as Rapid a General picture, he would realize Sartre’s imperative from the situation theater, the plunges the viewers in extreme, existential, but the General States, that they may bring him, ultimately, to yourself. Specific contemporary references, also here one searches in vain. You can make: examples of social, political, and social conditions abmarschieren (such as Rapid) or discursive (as Kušej). In the case of two men in the exception are States in the center, a little bit of love is too. They arrange themselves in the amount of the other, you lose yourself in it? The question is up to date. And fascination for Faschistoides and dirty game of political idealists are, perhaps, never of yesterday.
More information
The question must be asked however: Why particularly these with your strong Hand, the designated Directors on a clear positioning in our troubled time? Out of respect or out of fear of the audience? Whether this is a theatre of contemporary “political foundations” pulls back, if it turns to his great-dramatic roots. It smells dicey out there.
Residenz theater, Munich: “The robbers”: 2., 3., 23., 24. October. “Dirty hands”: 27. Sept., 17., 18., 28. October. www.residenztheater.de
No comments:
Post a Comment