Augenblick mal! 2003

Sonntag, 4. Mai 2003 | Die SCHAUBUDE Puppentheater Berlin

Theater Handgemenge, Berlin
Höchste Eisenbahn
Männer und ihr Hobby. Ein Welttheater
vom Ensemble Handgemenge
nach einer Idee von Peter Müller
Rechte bei Theater Handgemenge
Eine Koproduktion mit dem Hans Otto Theater Potsdam und dem Figurentheater Stuttgart
ab 6 Jahren | 60 Minuten

Director: Markus Joss
Stage and Costume Design: Christian Werdin
Actor(s): Peter Müller (Uwe), Pierre Schäfer (Dirk)


Two men, Uwe and Dirk, love nothing more than to play with their model railways. "Stand back please! Mind the closing doors!" And off the train goes. Each of them knows plenty of train stories. One starts like this: "Once there was a little boy named T


A hobby is celebrated by two grown-up men, Dirk and Uwe, hopeless perfectionists. While their work on their model railway is subject to strict rituals, it should also be fun – providing everything stays under control! Yet every shift of the tracks can become a new test on their friendship. But they know each other so well now, and every train has its course. This mixture of pedantry and roguish enjoyment is not foremost concerned with proximity to the audience. The characters are, at first, just the way they are: fuss pots and hobby room heroes. Yet with clockwork timing, the direction gives every gesture, every word such unexpected comical energy – yet never at the expense of the characters, on the contrary, it successively makes them more endearing. Traffic is humming along, Uwe and Dirk are ready to start taking on passengers. Thomas rolls into the miniature train station, with Aunt Kunjä and Hoppelpoppel. But when they meet Thomas' father in his new house, Hoppelpoppel is suddenly missing! Forgotten in the train (by Dirk! or Uwe?). The train has already departed on its way towards Warsaw. Thomas will never be able to sleep again – without his Hoppelpoppel. The problem will have to be solved in Berlin. Father goes out to buy a new stuffed dog for his son.

The growing drama of their story propels the men into a virtuoso of the performing arts. Materials, humans and machines assert themselves as a complete cosmos of modern city life. With great craftsmanship, and apparent effortlessness, Peter Müller and Pierre Schäfer are able to converge dramatic puppetry, material animation and commentary into fast-paced storytelling theatre, which still carefully leaves room for the participatory experience of the audience. At the highpoint of the 'action', Uwe breaks one of the fundamental rules. When Hoppelpoppel is found after a long and hard search, instead of bringing him back to Thomas, the Uwe-father gives him to a child on the train who has grown attached to the little stuffed dog. "How are you going to explain that to Thomas!" Dirk is irrate, Uwe is on the verge of tears. Just as the Uwe-father is approaching the little house where Thomas lives to break the sad news to him, a toot can be heard. A train is coming in from the East. Dirk is back in the game... and out of the small tragedy comes great happiness, after all. The combination of the two performance levels has succeeded and the story is in its finale. The fact that hobbies, especially those of men, tend to develop their own lives is nothing new, the basements of suburbia are teeming with parallel worlds and substitute lives. To explore one of these parallel worlds for what it has to tell us about our own lives – this opportunity has been taken full advantage of by this production.

Ina Kindler-Popp

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