Augenblick mal! 2003

Dienstag, 6. Mai 2003 | carrousel Theater - Probebühne

Hans Otto Theater Potsdam
von Nick Wood
aus dem Englischen von Constanze Hagelberg
Verlag Autorenagentur GmbH, Berlin
Deutschsprachige Erstaufführung
ab 9 Jahren | 50 Minuten

Director: Yüksel Yolcu
Stage Design: Dagmar Fromme
Costume Design: Dagmar Fromme
Dramaturgy: Andreas Steudtner
Music: Sonny Thet
Actor(s): Nina El Karsheh (Riva), Sebastian Wirnitzer (Andrea)
Musician(s): Sonny Thet (Cello)


Riva and her brother Andrea used to live in another country. Today they are standing in front of their new school in Germany, ready to start a new life. But their old life still has them in its clutches. They have to tell their story or they will never


Bloody uprisings in their home country forces a family to flee – what's left of a family, for the father has been killed. In their country of exile, the children and their mother are far from free of old enemies. In the strangeness of their new surroundings, they are also confronted with new animosities – it becomes a bitter experience. The stage is a rectangular arena, framed by the audience on four sides. Nina El Karsheh and Sebastian Wirnitzer tell the story of these siblings with artistic verve and a vivid sense of acting humour. With the right blend of lightness and heaviness they sketch the other characters – relatives, friends, parents, neighbours – and make quite a show of it. Sometimes the actress is the father or the actor is the mother. The roles are literally 'portrayed' – the attitude of the performers to their performances is anything but masked. Lightning speed transitions from one role to the next are possible thanks to a minimal use of props and costuming, yet also greatly supported by the masterful mimicry of the actors. The story is not only accompanied by the riveting cello playing of Sonny Thet, but, in part, actually 'told' through it – the cello becoming a voice in its own right.

This is not a psychological chamber piece, but a style of production based on the simplicity and transparency of theatrical devices as well as the reduction of the plot down to recognisable, typical everyday moments which draws out a maximum of empathy for and identification with the characters. Perhaps this is the most sustainable access which the theatre can provide to fates foreign to our own – there and here in our own country. The piece was discovered by our Potsdam colleagues during the 13th Writer's Forum for Children's and Young People's Theatre in Frankfurt, where it featured as a guest performance by the 'Nottingham Playhouse'. The Potsdam crew showed the initiative to have the play translated and premiered in Germany. This adaptation of 'Warrior Square', as it is called in English, reveals a fundamental quality of Nick Wood's work. It is a parable about the consequences of ethnically and religiously motivated hate, the victims of which are primarily families and children. But it is also a parable about the extent to which children are capable of taking control of their own fates – the power of self-determination, no matter how small you are, to conquer the absurdities of hatred towards people of other religions or skin colours.

Peter Fischer

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