Augenblick mal! 2003

Samstag, 3. Mai 2003 | carrousel Theater - Probebühne

TiP-Theater Oberhausen
von Marius von Mayenburg
henschel SCHAUSPIEL Theaterverlag, Berlin
ab 15 Jahren | 105 Minuten

Director: Kay Voges
Stage Design: Daniel Roskamp
Costume Design: Daniel Roskamp
Dramaturgy: Erinnya Wolf
Music: Michael Barfuß
Actor(s): Kaspar Küppers (Kurt), Anna Polke (Mutter), Juan Manuel Torres y Soria (Paul), Imke Trommler (Olga), Michael Witte (Vater)


What should become of a boy who flambés dead animals in newspaper, builds fertiliser bombs and brews up Molotov cocktails with petrol, glue and heating oil? And what should become of a girl who so desperately wants to escape "this whole childhood crap"


Mayenburg's play, at first established in the evening programmes of large theatres, did not appear on the children's and youth's theatre scene until later. The text peers into the unfathomable abyss of that much discussed phenomenon 'puberty'. This Oberhausener production makes the inevitability of these siblings personal tabula rasa an unforgettable theatre experience. The portrait of the family with all its forced mannerisms is intriguing and convincing, all relationships are able to unfold without prejudice to the very end. The conflicts are thereby able to develop their own fatal dynamics, successfully luring the audience ever deeper, finally into sheer morbid fascination. Each character relentlessly demands identification and distance – trapped in their mental and emotional ignorance yet driven by an inexplicable logic of action. While Kurt and Olga lustfully break taboos, their parents lamely resort to a therapeutic mix of authority, collegiality and strictness. With their motivations and obsessions so transparent, the fruitless attempts at communication are all the more grotesque. The handling of the text is as confident and impressive as the acting presence of the cast.

Stage, costumes and make-up underline the absurd banality of the situations. The living room and its inhabitants at first seem ripped straight from a cliché but the action leads us into other spaces on the stage, new perspectives, like a wide-screen film with parallel existing scenic levels, caricatures and images on the verge of the surreal. The correspondence of all staging techniques and the dramatic device of the looming catastrophe converge to form a sense of inevitability – expressed in an omnipresent air of comedy. The production drives the drastic state of its characters and events to the outmost limits and provokes the audience, still roaring with laughter, with a grotesquely tragic and hauntingly disturbing end.

Ina Kindler-Popp

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