Augenblick mal! 1995

Mittwoch, 12. April 1995 | Theater am Halleschen Ufer

SCHAUBURG am Elisabethplatz, München
Ein Libretto für Schauspieler
von Tankred Dorst unter Mitarbeit von Ursula Ehler
Suhrkamp Verlag, Frankfurt am Main
ab 7 Jahren | 80 Minuten

Director: Peer Boysen
Puppet Design: Beniamin Sovetov
Stage Design: Peer Boysen
Costume Design: Andrea Spanier
Dramaturgy: Dagmar Schmidt
Music: Toni Matheis
Actor(s): Corinna Beilharz (Die Schwester ohne Zunge), Peter Ender (Abenteurer), Ercan Karaçayli (Der Alte König), Katarina Klaffs (Die Schwester mit der Augenklappe), Helena Lustinger (Die Alte Königin), Silke Nikowski (Die Schwester mit der verstümmelten Hand), Martin Ontrop (Der Königssohn), Michael Vogtmann (Eisenhans, Ritter), Christoph Wettstein (Der Kahle König), Sabine Zeininger (Die kleine Prinzessin)
Musician(s): Lisa Huber (Sopran), Alexander Hötzinger (Percussion), Gunter Weyermüller (Fagott)
Assistance: Andrea Spanier
Puppeteers: Meisi von der Sonnau, Panos Papageorgiou


The fairy tale 'Iron John' was first published by the Grimm brothers in 1850 and served as the basis for Tankred Dorst's 'Grindkopf' in 1986. This "libretto for actors" is not a theatre piece in the traditional sense, but more a story implanted with di


This production takes Tankred Dorst's version of the 'Iron John' fairy tale very seriously. It is thoroughly extravagant and opulent in the use of various media, from puppetry to classical singing. Directed by Peer Boysen with imaginative scenery by Andrea Spanier, a surreal game of dimensions is unfolded: the figures mutate, changing their appearance from small to large to huge to puppet to human to something in between. But the production never loses sight of its fairy tale character. In fact, it might quite exactly resemble one of those inner pictures a child forms when hearing a fairy tale. Depending on their emotional state, they could see the hero as large as he leaves his home for the first time, but then small again when he is afraid and longs to return to the parental nest. How far away and strange the worried parents seem, standing on the horizon as their child throws himself fully into the adventure. It almost seems like the strict concentration of form which runs through this Munich production is a silent introduction into the symbolic language of the theatre. And yet it remains a secret how such a constant change of acting levels and figures still manages to have a strong emotional impact on the audience, heart-stirring and exciting all at once.

Ingrid Hentschel on behalf of the jury

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