Augenblick mal! 2003

Montag, 5. Mai 2003 | carrousel Theater - Probebühne

Staatsschauspiel Dresden
Klamms Krieg
von Kai Hensel
Gustav Kiepenheuer Bühnenvertriebs-GmbH, Berlin
Weitere Aufführungen in Schulen
ab 16 Jahren | 45 Minuten

Director: Gilbert Mieroph
Stage and Costume Design: Anja Ackermann
Dramaturgy: Beate Seidel
Actor(s): Daniel Minetti (Klamm)


All the teacher Klamm wants to do is lecture about Goethe's 'Faust'. But he is faced with a classroom which refuses to co-operate. His pupils declare war on him. Klamm is put on the spot. He is held liable for the suicide of one of his pupils who faile


Kai Hensel's text tells the story of two suicides. The actual suicide of a pupil and the professional suicide of a teacher. The play integrates many qualities of a tragedy. Yet, while exploring the roots of guilt, its full power is only unleashed by Daniel Minetti's performance – a 45-minute attack on the feelings of all participants, namely, those of the audience. As an audience member, this piece is a targeted attack on your capacity to pass judgement. It is impossible to ignore this writer-actor team's challenge. Momentary sympathy for the figures in the story proves to be misleading. All judgement is premature. This is an event which schisms the audience. As the actor reveals the remnants of a former idealist and pedagogue behind the stained feelings of a failed lover, as the wounded teacher acts as a mirror for the merciless spirit of his colleagues, but also that of the pupils, the audience falls into categories: the good and the just, the understanding and the strict, the reflective and the pedagogical... and all those who are only shocked, speechless and who close themselves off.

The performance takes place in the classroom, instrumentalising its conventions as a social arena. The everyday situation of frontal instruction, not dissimilar to traditional reception in the theatre, is used to tell the story of a war which Klamm is leading against his students. Layer by layer we slowly get beneath the surface of the conflict, what pitted the pupils against their teacher in the first place. The concentration of the plot in the classroom and the subsequent disquieting effect on the audience is further amplified by Daniel Minetti's enigmatic performance. The immediacy with which the audience is confronted with this story could scarcely be achieved in a theatre. The sounds, the smells and unique charm of the classroom intensify this immediacy considerably, creating an incomparable theatre experience. Text, performer and audience (primarily pedagogues and pupils) become test tubes in an experiment on the subject of 'school'. Fortunately, what is meant by this is much more than just 'school'.

Peter Fischer

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