Augenblick mal! 2001
Mittwoch, 09. Mai 2001 | Schiller-Theater-Werkstatt
Kinder- und Jugendtheater des Landestheaters Württemberg-Hohenzollern Tübingen-Reutlingen
Sag doch was!
von Anders Ramberg
aus dem Dänischen von Volker Quandt
Harlekin Theaterverlag, Tübingen
ab 11 Jahren | 65 Minuten
Director: Jochen Fölster
Stage and Costume Design: Cornelia Brey
Dramaturgy: Monika Hunze
Music: Thomas Maos
Actor(s): Ester Daniel (Martha), Werner Koller (Thomas), Farida Shehada (Sarah)
Musician(s): Thomas Maos
The author tackles a touchy topic here: lively and cheeky teenager Sarah gets thrown together with her half-paralysed, bed-ridden 60-year old grandfather Thomas. Due to a cerebral haemorrhage several years ago, Thomas has become a full-time nursing cas
... feeling herself helpless in the situation, Sarah counters her grandfather's tyranny of helplessness. She demands a response, drills him with questions, provokes him to express himself with whatever means he can muster. Then Sarah stumbles upon the old man's past: as a rock musician and a hippie, demonstrating against the war in Vietnam, living in a commune. A new image of her grandpa begins to take shape, no longer just the handicapped burden who cramps her grandmother's lifestyle. A small shock for our no longer so sprightly audience members: even rock'n'rollers get old, are already aged, in need of care, doddering old grandpas... The Tübingen rock musician Thomas Maos gives this grandfather a voice – with guitar riffs. He interprets each mood into music, lays down the soundtrack. His guitar clashes when the performers clash. When they are warming up to each other, the tones prod and sniff with curiosity. And when grandpa jams on his old 'Fender', it's almost like Jimi Hendrix whipping out another mind-blowing solo with his tongue...
At one point, the incontinent old man wets his bed. Disgusted, angry and at a loss for what to do, Sarah just takes off all his clothes. Grandfather Werner Koller stands there – completely naked, helpless, vulnerable and fragile, totally dependent on his granddaughter, a miserable sight. He totters there a few minutes (it feels like ages), wet with his own piss and drool, a broken human body, appalling. Why is this scene not for a moment awkward? Director Jochen Fölster and his performers have staged it to be so gripping, moving and authentically emotional. So touching, not a single pubescent soul dares crack a dirty joke. This is a rare jewel of a performance in children's and young people's theatre. The new, young ensemble member Farida Shehada is also magnificent, playing a vivacious, exuberant and peppy granddaughter, equipped with just the right dash of healthy egoism, sparing us superficial reactions like a fear of contact or fake concern. Even after grandpa and granddaughter have broken the ice, perhaps even learned to like each other a little, she holds her ground: "Grandpa, you have to go to a nursing home." He nods, well knowing she's right. And that there's no need to fear he'll lose Sarah or Martha. This German premiere does not tell a 'great' story, but one that certainly touches a few sore spots. And breaks a few taboos, in children's theatre in any case.