Augenblick mal! 1995

Mittwoch, 12. April 1995 | carrousel Theater an der Parkaue

Theater Junge Generation Dresden
Ghetto
von Joshua Sobol
neu übersetzt von Jürgen Fischer
Essener Fassung
LITAG-Theaterverlag, München
ab 16 Jahren | 210 Minuten

Director: Arne Retzlaff
Stage Design: Heike Arndt
Costume Design: Heike Arndt
Choreography: Reiner Feistl
Dramaturgy: Walter Henckel
Music: Christoph Müller
Actor(s): Thomas Eisen (Kittel, Dr. Paul), Roland Florstedt (Alter Jude), Dirk Hempel (Lina), Katja Langnäse (Umah, Elia), Sabine Liebisch (Luba), Carsten Linke (Srulik), Ralph Martin (Dessler), Karin Müller-Geng (Alte Lea), Walter Nickel (Gens), Frank Panhans (Kruk), Hans-Jürgen Rudolph (Alter Srulik), Renat Safiullin (Abraham, Itzig), Norman Schenk (Jankel), Jörg Simmat (Weiskopf), Peter Trillhose-Splitt (Gerstein), Sylvia Wolff (Chaja)
Musician(s): Bernd Sikora (Schlagzeug), Jörg Kandl (Saxophon, Klarinette, Blockflöte), Christoph Müller (Akkordeon, Gesang), Matthias Thomser (Kontrabass, Posaune, Blockflöte), Cornelia Wächter (Violine)

Synopsis:

Vilnius, Lithuania, 1942. A theatre is built up in the ghettos. The people want to live – to survive. Theatre is a possibility. But is it possible to act out a situation beyond the imaginable? How can we deal with the shadowy sides of our past? Which p

Vote:

The first scene of this production already sets the tone. A group of young actors gets together – apparently to read through a play. News is exchanged, points given their due honour. Then, almost reluctantly, the manuscripts are opened. The first passages are read. The first actor steps onto the stage and it is gradually transformed into a ghetto. A grid is projected onto the stage floor, giving us the impression of a gaping abyss below. The actors balance on it, form into a queue... at first cautiously, then more confidently begin to move about. The basic drive becomes the cohesion of the individuals into a group, the formation of downtrodden single actors into an ensemble... a theatre of the ghetto. The group becomes a kind of collective 'hero', the performers stepping in and out of the whole. With the world outside an enemy of art, theatre has a subversive function, even in the performance of the Gershwin number the body movements underline the rebelliousness in the music. Unfortunately, the performances of certain key figures (Kittel, Gens) – purposefully cast from outside the normal ensemble – do not always do justice to the artistic substance of the group. Nevertheless, this highly involved ensemble has given an unmistakably new form to one of the more complicated works of recent dramatic literature.

Volker Trauth on behalf of the jury

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