Augenblick mal! 2003
Dienstag, 6. Mai 2003 | Kulturbrauerei - Kesselhaus
Theater der Jungen Welt Leipzig
Fett frei und fast free
Tanztheatralisches Projekt mit Schauspielern
von Vivienne Newport
nach einer Kurzgeschichte von Ian McEwan
the agency (Ltd), London
ab 16 Jahren | 80 Minuten
Director: Vivienne Newport
Stage and Costume Design: Gerhard Roch
Dramaturgy: Marion Firlus
Actor(s): Mirko Brankatschk, Galina Freund, Martina Krompholz, Christian Meier (Schrankmensch), Meike Anna Stock
As long as our leading character can remember, his mother has hindered him in learning how to speak, eat and act independently. But then, one day, when a new man comes into her live, she abandons this symbiosis with her son. The 'big baby' is suddenly
The story of a young man whose deepest longing is to crawl back into his mother's womb. Yet the symbiotic tie to his mother has kept him from growing up. He's never learned to feed himself, to speak for himself, to have a social life. When his mother meets a new man, he is forced to venture out into the world on his own, come to terms with the demands of adult life. It's a leap into cold water – sudden and painful. This young man is sketched so vividly, our attention is inexorably drawn into his subjective experience of the ordeal. In stark physical and ritualised images, cutting spotlights and patterns of movement follow this man's exodus into the hostile, cold and fast-paced world of adults, in which even the most simple of daily demands overwhelms our hapless hero. The precise physicality of this dance-theatrical approach creates for each performer unforgettable moments on the stage, boldly transcending the experience of the individual in a societal context. Systems like families, circles of friends and work places are exposed in their blatant conformity – as empty, even violent. Contrasted, on the other hand, by the intensely subjective and lonely ego of the protagonist, lost in the labyrinth of his own perceptions. The focus of desire remains the longing to return to his mother's bosom, which, in the course of the story, becomes associated with a kitchen stove. This leads the story to its dramaturgical turning point, when the protagonist clearly and destructively rebels against his oppression – and in this act simultaneously manifests his stunted ability to cope with the demands of his environment.
All performers move with invigorating precision and strength through a world of images overflowing with repetitions, associations and doublings of characters. An experiment with the aesthetics of our times, with fast cuts and constant quotes from pop and film culture, providing the audience with a stimulating portal to the darker psychological depths of this drama. An exciting, surely also controversial production, which craftfully manages the challenging combination of acting and dancing. Yet also the moving accompaniment of a young man who breaks down under his own longing for a personal paradise lost. The theme could not be more up-to-date. In a society where young adults are increasingly shielded from life, this production pushes the subject of over-protection to its extreme. And gives a face to the other side of the coin, the root cause of the problem: the narcissistic, self-gratification of the parent. In blatantly polarising and painful exaggerations, the loneliness of such a misused young adult is illuminated – a man who obviously can only fail in his attempt to grow up.