Augenblick mal! 1995

Montag, 10 April 1995 | carrousel Theater an der Parkaue

Kleist-Theater, Frankfurt/Oder
Mörderkind
von Ulrich Plenzdorf
Suhrkamp Verlag, Frankfurt am Main
ab 14 Jahren | 120 Minuten

Director: Armin Petras
Stage Design: Philipp Stölzl
Costume Design: Thekla Tesch
Music: Tilmann Dehnhard
Actor(s): Franca Baumbach, Horst Damm, Anke Düding, Juliane Filep, Susanne Giesa, Klaus Hückstädt, Dieter Jäger, Andrej Kaminski, Anja Köhler, Christin König, Melanie Marx, Mandy Müller, Rahel Ohm, Anke Rähm, Gerhard Reich, Sebastian Reznicek (Karl), Lars Roepcke, Simon Schmitt, Katja Schubert, Meinolf Steiner, Gunnar Teuber, Dirk Wäger

Synopsis:

Karl had lived a harmonious life until his father is arrested as a RAF-terrorist shortly after the unification of Germany. His schoolmates no longer want to sit next to him – a murderer's child. Feeling betrayed, he escapes into a dream world where his

Vote:

Plenzdorf has written a hard-hitting, bitterly ironic series of heterogenic scene fragments – the utter chaos of a Russian class is followed by the desolation of a family whose father has been uncovered as a terrorist; the wild gunfire of a Russian shooting range is followed by the ghostly machinery of soullessly functioning human cogs in a high security penitentiary. The story is propelled from the beginning to the end by a fatal sense of inevitability. Aggressive songs are implanted into the events, attacking the roots of false auspiciousness and animosity. The director, Armin Petras, has accurately hit the inner nerve of this play. What takes place on the stage is like a spine-chillingly distorted waxwork, only the son and father somehow separate. The son Karl – the murderer's child – who no one wants to sit next to in school, is played by the talented amateur actor Sebastian Reznicek, something of a spontaneous, flimmering being of light. Dirk Wägers, the ex-terrorist, also appears to be of another world in his reality-denying self-mortification. But the director also brings the background to life with slapstick and nonsense, resounding a deeper resonance. The surrounding figures seem to hang on marionette strings. Although some elements also seem to hang and some songs seem old-fashioned, this is without a doubt a fine showing for this young director. His talent in directing amateurs is also without question. I have rarely seen non-professionals with such solidity on the stage.

Volker Trauth on behalf of the jury

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