Two great final images were there on Friday evening to marvel at on the stage of the Berliner ensemble. In the first swells of the heroes of the “Prince of Homburg”-a performance that is played by the high aufgeschossenen actor Sabin Tambrea, a blood gush out of the mouth. He is balancing on a beam a few meters above the stage floor and is caught in a stylized barbed-wire entanglement, the sound of gunfire and the thunder of cannons, since it has caught the good soldier. On the front of the stage ramp to resist the same fate: Princess Natalie (Antonia Bill), the mistress of the Prince, a young woman, the blood spits and dies.
In the second final image is kneeling, Claus Peymann at the applause from his actors down, getting his legs, looks out into the audience and slaps his hands to his face. So the great man of the theatre, the rubs the grey hair funny fossil remains in this position, a full 15 seconds: an apparently inconsolable Grief; as it seems, completely Desperate. Then, however, Peymann comes to his senses, letting his hands fall, laugh, and wave happily. Everything was just Comedy!
18 years Ago, has Peymann assumed the Intendantenjob in the Berliner Ensemble, the famous Brecht-Theater am schiffbauerdamm, and he has the early Finale of his directorship, which ends only in the summer (shortly after Peymanns 80. Birthday), his last production will be presented. A strict, proud to fall, the conventional performance of Heinrich von Kleist’s “Prinz Friedrich von Homburg”. Peymann shows the piece from the year 1810 as an anti-militaristic spectacle under a bunch of militarists. The stage and costume designer Achim Freyer has him marching in a wood, to the rear of the rising disc of Wood, built on the men and women in uniforms. Not just the Prussian elector Friedrich Wilhelm, the novel Kaminksi plays as jovial grumpy, and all his courtiers to wear soldier regalia. Also, the floor-length dress by Antonia, bill’s Princess Natalie looks like a military coat.
The Prince is not, in any second ready to die
The title of hero, however, occurs for the first time with a naked torso. Kleist’s piece begins with the daring young commander the Prince of Homburg, from the many Fighting, exhausted, in the Night in the Royal Palace converts the garden to sleep. It is observed from the elector, his officer friends and Princess Natalie and teased – so long, until the Dreaming confesses to Natalie, his love, and one of her gloves to take. The next Morning, Homburg is not confused in such a way that he listens to in the Council of war, as to him his commands shall be issued for the upcoming battle. The attack, contrary to all the appointments, manage Homburg to win over the enemy of Sweden. The Prussian elector convicted but his young commander to the death, because he had breached a duty, and obedience, hierarchy, and eternal laws.
Claus Peymann not interested Homburg purification of the reacted first with disbelief, then with despair and a letter of the elector finally admits that the Old law did with his death sentence. In no second, so the Director shows us, is to be a Prince willing to die for the receipt of the order. The Homburg of the actor Sabin Tambrea is not a thinker and not a knight; he is a pure, fighting machine trained goal. With Peymann shows him in the Moment of maximum fear of death, when the Prince of wails suddenly, with a bright boy’s voice: “Oh, God’s world, she is so beautiful!” The strongest character on the stage is Princess Natalie, clutching the elector, her uncle, in a very intimate hug – and him, in a famous phrase of the piece maintains: “What a heart have you broken”. In the case of Kleist, the speech is still of a “hero’s heart”.
With two Kleist performances, the Stuttgart “Käthchen of Heilbronn” of 1975 and the Bochum “Hermann battle” in 1982, was. the Director Peymann in the course of his temporarily glorious Director life two of his biggest successes Berlin’s “Prince of Homburg” is a solid, a bit of a sentimental reminder of these glorious days. For older Peymann viewers (of which I am one) looks like the performance is sometimes as if you’ve shrunk the stretch of “the Hermann battle” and their lances taken away.
Peymanns knee is the highlight of the Evening
The message is clear. The men roar here “In the dust with all enemies of Brandenburg!”, horror figures, engaged in a suicide craft. The Prussian Drill and Preußentum can Peymann remain stolen. This is not a bit surprising, because the Peymann theatre itself, that has in the past few years, rarely so, as the performer of an elector appearing to be a theatre champion breeding-trained and has been tormenting. This time, in the “Prince of Homburg”, it’s different. Here is a cozy, Laissez-Faire, in which the actress Carmen-Maja Antoni in the role of the colonels Kottwitz shall be entitled to deduct a heart-warming clown number prevails.
And, of course, is not the death of the blood-spitting young Homburg, but the knee-a case of the old Claus Peymann, the dramatic climax of this theatre in the evening. The theatre Royal is beating his hands to his face and pretends to be a king Lear, the breach of Love in exuberant pain, of his, of the world, farewell says. Then he rips the arms in the air, waving omitted, and shows: it Was all in good fun, I’ll be back. In fact, Peymann as Director wants to do more: In Stuttgart, it has announced that it will be staged in the next year, no other piece of “king Lear”.
Prinz Friedrich von Homburg. Berliner Ensemble, next performances on 13, 24. and 26.2.
No comments:
Post a Comment