Augenblick mal! 2001

Samstag, 5. Mai 2001 | Haus der Kinder

Puppentheater am Meininger Theater - Südthüringisches Staatstheater
Der standhafte Zinnsoldat
The Brave Tin Soldier
nach Hans Christian Andersen
henschel Schauspiel Theaterverlag, Berlin
deutsch und englisch
ab 6 Jahren | 50 Minuten

Director: Tobias J. Lehmann
Puppets: Thomas Klemm
Stage Design: Ingo Mewes
Costume Design: Ira Hausmann
Actor(s): Sven Huerdler (Effekte), Melanie Marschall (Tänzerin), Stefan Wey (Alle Rollen)


So many tales by Hans Christian Andersen are about outsiders; 'The brave Tin Soldier' is no exception. A spoon is melted, providing enough tin for 24 uniform soldiers – but number 25 is missing a leg. Although he can stand just as steady on his one leg


Setting afire the fever of love, the production magically breathes life into the figures, becoming, in the end, an obstacle course spanning the breadth of all human hopes and desires, braving storms, the deep sea, the gutter. We are chased through it, flung into the rigours of unnamed passions, dashed upon the rocks of impossibility, forced to seethe with the pain of unfulfilled longing. The actor, Stefan Wey, is forever shifting levels. At once the author Andersen himself, then the soldier still stunned at the appearance of his dream dancer, now a conjurer of moving images – 'moving' in all senses.

The piece is so theatrical, it's disarming. The theatre of objects coupled with the theatre of projections, while storytelling theatre lures the audience ever deeper into the tale, until we are experiencing it ourselves, breath by breath, each moment brimming with poetry. We observe the scattered objects on the table from a distance, like exhibits in a museum, sizing them up as roughly hewn materials – while their shadows on the projection screen begin to take on a life of their own. Suddenly, as if a veil has been lifted, we discover craftwork of utmost precision, admire the astounding attention to detail. But we are not allowed to admire this wonder for long. The projection prohibits us from simply watching. We are transported into the heart of the tin soldier's inner world. We share the torment, the suffering, the adventure, the wordless, unspeakable joy of seeing the beloved dancer again... and then, the loss of love. The happiest and most painful moment share the time span of a single second. We experience every moment at its climax. A never-ending back and forth. We are propelled forwards on a roller coaster ride though the ecstasies of all imaginable heavens and hells. An all too realistic play on our fears, desires and dreams.

Karola Marsch

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