Augenblick mal! 1997

Samstag, 26. April 1997 | carrousel Theater an der Parkaue

Hans Otto Theater, Potsdam
Der Baron auf den Bäumen
von Christian Tschirner
nach Italo Calvino
Rechte bei Christian Tschirner
ab 14 Jahren | 135 Minuten

Director: Roland Bertschi
Puppet Design: Suse Wächter, Peter Lutz
Stage Design: Jan Pappelbaum, Volker Thiele
Costume Design: Atif Hussein
Dramaturgy: Sasha Mazotti
Music: Christine Schulz-Wittan, Olaf Hilliger
Actor(s): Peter Lutz (Abbé, Estomac, Don Frederico), Hans-Jochen Menzel (Di Rondò, Battista, Tanta, El Condé, 1. Offizier, Napoleon), Suse Wächter (Generalin, Viola, Ursula, 2. Offizier), Christian Weise (Cosimo)


Served up a disgusting meal of snails, the 12-year old Baron Cosimo Piovasco di Rondo excuses himself from the dinner table and climbs up into an oak tree, a hoalm oak to be exact. From that day on, June 15, 1767 (to be exact), the Baron's life is spen


This production was not originally developed for a young audience. And much to its advantage! The Baron of the Trees is a prime example of 'theatre of the generations', appealing to the young and old alike. Furthermore, the story is also about the misunderstanding between generations. In the trees, the young baron escapes the humdrum of his day to day life. No longer is he subject to the restrictions of education or family. In a sense, this is a parable about the consequences of 'dropping out'. The price the baron pays for his non-conformity is high. He is free to follow his every whim in the treetops, yet he is also quite alone. As peculiar as his situation may be, his non-conformity is relativised by his steady contact with the world below – whose ground he has abandoned, whose conventions he scorns, but from whose influence he can never truly escape. And while a miniature bourgeois revolution on the ground may fail, nothing can stop Cosimo from dreaming in the treetops of a better world – what else but an arboreal republic?! The tragedy of it all is that, for the ruling classes, this perhaps true revolutionary at heart becomes an icon of the supposed new freedom of the Napoleon Republic. This parable of 'dropping out' tells the story of the ambivalence of the radical figure, of suffering as a compromise and of the ultimate futility of loneliness...

Gerd Taube

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