Augenblick mal! 2001

Mittwoch, 09. Mai 2001 | carrousel Theater an der Parkaue - Probebühne

TiP-Theater Oberhausen
Salzwasser
von Conor McPherson
aus dem Englischen von Christoph Roos und Rachel West
Felix Bloch Erben, Verlag für Bühne Film und Funk, Berlin
ab 15 Jahren | 120 Minuten

Director: Klaus Weise
Stage and Costume Design: Fred Fenner
Dramaturgy: Erinnya Wolf
Music: Michael Barfuß
Actor(s): Yorck Dippe (Ray), Felix Vörtler (Frank), Daniel Wiemer (Joe)

Synopsis:

Joe, his older brother Frank and the young philosophy lecturer Ray all live in an Irish coastal town near Dublin. Their lives are not especially exciting. Joe is a student and has a crush on Deborah So-and-so, but doesn't have the guts to speak to her.

Vote:

... The care with which the young Irish author Conor McPherson has portrayed his figures is infectious. Three young men tell their stories – scenic action all but absent – conjuring up vivid enough images in the minds of the audience. We are taken hostage by the concentrated power of the hard yet irresistibly poetic language. We are abducted into a world teetering on the edge of an anti-social abyss. The stories subject us to the figures' mindless drinking, loveless sex, lives void of all perspective – driven by little more than boredom and a vague sense of comradeship. These are stories about survival. Life as it is: in all its banality and opportune excitement. This riveting text has been transported onto the stage with a single slight of hand: reliance solely on the spoken word, the primal power of storytelling. The film takes place purely in our minds. It is high time the makers of young people's theatre discovered this author!

And the ensemble is no less astounding. Daniel Wiemar (Joe), Felix Vörtler (Frank) and Yorck Dippe (Ray) are excellent actors and perfectly cast. The house and stage director Klaus Weise treats himself and the audience to top quality here. A piece for young people? Yes! Even though it runs in the evenings, the audience is comprised almost exclusively of youths. In 1992 the TiP-Theatre in Oberhausen ventured out onto new territory: under the house director Klaus Weise and the dramaturge and theatre pedagogue Michael Jezierny the theatre programme for young people was gradually shifted to primarily evening performances. A heated battle ensued against existing structures and teachers' demands. But behold: it worked! Plays for young people are now almost exclusively scheduled for evening performances. And the teachers still come with their pupils – in the meantime actually because the performances are in the evening. Of their own free will. A point of discussion for the future of young people's theatre? The Oberhausen model could teach us well.

Gerda Özer

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