Augenblick mal! 2001

Dienstag, 8. Mai 2001 | GRIPS Theater

mini ~ art Kinder- und Jugendtheater, Bedburg-Hau
Wer auf dem Kopf geht, hat den Himmel unter sich
von Crischa Ohler und Sjef van der Linden
Rechte beim Theater
Uraufführung
ab 10 Jahren | 60 Minuten

Director: Rinus Knobel
Stage Design: Crischa Ohler
Costume Design: Sandra Nienhaus
Dramaturgy: Silka Kleinschmidt
Music: Sjef van der Linden
Actor(s): Sjef van der Linden (Mann), Crischa Ohler (Frau)
Moving toy: Helmut Fasaris
Video: Peter Bossmann and pupils of the intermediate school Kleve II and the secondary general school Markus in Bedburg-Hau

Synopsis:

A blue room. Rows of shelves stacked and ordered with countless loose-leaf binders, monitors, children's toys. A woman who takes in lost children, collects them. A man who neither knows his name, nor where he comes from. He seems to have stumbled and f

Vote:

What would happen if we walked around on our hands? If we looked at the world the other way round? If up was down... would that mean down was up? Or would we just fall right out of the world...? A voyage of discovery begins: a blue room, shelves full of binders, seven monitors, children's toys. White scraps of paper fall from the sky. Children's faces appear in the monitors. A woman takes notes: name, height, eye and hair colour. Those who've been rejected, forgotten, lost, misused or forsaken. It's a long list. A man derails from his normal routine and falls into this world as well. It's a hard fall. He too, it seems, has lost his way. She asks, he answers. He tells us about his missing daughter and his own inner child he's somehow lost touch with. He's one of the guilty, yet at the same time a victim. They talk about their desires and fears, the pain of growing up, the search for security. They seem to be rescuing each other, these two who've fallen out of the world. Is she the missing daughter? We jump to conclusions... but the mystery remains.

The subject is difficult – lost children and parents – how easy it would be to drift into sentimentality and exaggerated pity. But this tale about searching for one's own inner truth clears the stage of such clutter. Told with poetry and anger, amusement and sadness, the play is surreal and painfully down-to-earth all at once. The fictive world of a woman collecting lost children is anchored in the here-and-now by the children's faces in the monitors. These screens make the toys, like a collective symbol for the fairy tale world, lose their innocence and appear modern. This production testifies to mini-art's unique way of working: on the one hand, an authentic, almost tangible identification with the subject, on the other, a successful balance between mystery and precision, between showing and demanding. And this all spun together with sure-handed inventiveness. A solid foundation for quality and an excellent, highly exemplary independent theatre production. You become a part of the story. Take sides. Identify – absolutely – with the children.

Gerda Özer

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