Augenblick mal! 1999
Dienstag, 27. April 1999 | Podewil
Theater Junge Generation, Dresden
von Thomas Brasch
Suhrkamp Verlag, Frankfurt am Main
ab 16 Jahren | 75 Minuten
Director: Michael Thalheimer
Stage and Costume Design: Michael Thalheimer
Dramaturgy: Kerstin Behrens
Actor(s): Susan Weilandt (Oi), Stephan Thiel (Sakko)
This play is about the No-Future-Generation of the 80s. The director, Michael Thalheimer, places the story in the multimedia landscape of the 90s. He describes a generation whose philosophy of fun is starkly juxtaposed with the fear of unemployment and
"I love you / I love you Honey Bunny. Everybody cool, it's a robbery / Any of you fucking bitches move and I'll execute every mother fucking last one of you." The music blares, they begin to run. Sakko and Oi are running for their lives, or are they dancing? They're moving on an elevated platform, on the edge of an abyss. On the front of the platform is a screen, bombarding the audience with a rapid succession of video images from today's hippest television programmes. This is how 'Mercedes' begins in Dresden. The text, however, is not from Thomas Brasch, but from Quentin Tarantino. If the fans of the cult film 'Pulp Fiction' do not immediately recognise this scene with the desperate pair of lovers, when the music kicks in, at the latest, all doubt is banished. The soundtrack has meanwhile become so popular, there's no mistaking it. Then, seamlessly, comes the transition to Brasch's text. At a breakneck speed, the protagonists scream into each other's faces: their frustrations, their fears, their longings. Just like Honey Bunny and her lover they're on quest for knowledge, betting everything on one game, risking their lives, teasing death.
Thalheimer's production is young people's theatre of the 90s, not only in content but also in the choice of media. The never-ending flow of quickly cut images from the modern media world also plays an acting role in this thrill-fiction, offering an aesthetic framework, demanding the audience to reflect on these images' ideological implications. Theatre is neither betrayed nor is the youth culture cheaply patronised. Susan Weilandt and Stephan Thiel perform like devils, in the best sense of theatre, playing with the audience and against them...