Augenblick mal! 2003

Samstag, 3. Mai 2003 | carrousel Theater - Bühne

Thalia Theater Halle
Schnitt ins Fleisch
von Xavier Durringer
aus dem Französischen von Ina Schott
Felix Bloch Erben, Verlag für Bühne Film und Funk, Berlin
ab 14 Jahren | 90 Minuten

Director: Christoph Biermeier
Stage and Costume Design: Katrin Busching
Dramaturgy: Cornelia Nitzschke
Music: Matthias Nilius
Actor(s): Harald Höbinger (Joseph), Dagmar Lautemann (Maria), Oliver Moumouris (Max), Pegan van Pelt (Rosa), Effi Rabsilber (Lisa), Christian Sengewald (Slim)

Synopsis:

Slim has just lost his job in the cookie factory, mom is busy cooking for her new lover and who knows where dad is – he couldn't care less about his son anyway. The mates Slim hangs out with are always up for some fun to escape the doldrums of suburbia

Vote:

This is the story of a group of suburban friends and their relationships. It starts with a bet, a game between Max and Joseph, who arrange for the unemployed Slim and the beautiful Lisa to meet. At first it seems Joseph has lost the bet – that Slim wouldn't be able "to bed" Lisa. But when a love relationship develops, it severs the bonds of friendship in the group and everything is changed forever. Lisa: "He just looked at me, that was all it took. He stood there, watching me live... and what he saw, he thought was beautiful." The situation escalates when a jealous Joseph wants to have his ex-girlfriend Lisa back. Meanwhile the current "joy of his groin," Marie, is pregnant and Lisa is mysteriously withdrawing from Slim. A chain of disappointed expectations drags Slim down, until his pain breaks out in an act of violence. Although the powerful and highly poetic text locates the story "everywhere and nowhere", the director chose an icy landscape as the background, its atmospheric counterpoint expressed in Finnish tango.

The simply arranged and open stage also contributes to the chilly atmosphere – in which the characters seem suspended, as if enchanted, but also lost. The clear focus of the production is on the actors and their artistic performance of the many layered characters. Still... another level of reality is reflected in the sensitive and strangely moving video sequences of aquatic animals in an icy blue sea. A wonderfully dense production, comical and serious, allowing room for stark realism as well as pointed excesses in performance and aesthetics, literally driving actors to sink or swim – and they excel. Contradiction is transcended: poetic elements lace the blank exposure of conflicts, humour spotlights the merciless investigation of each character's wounds. Theatre for young people which can stand for itself. Measuring up to the adult world of experience both in character and psychology as well as to their aesthetic criteria for high quality theatre. In all counts convincing.

Franziska Steiof

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