Augenblick mal! 2005

Sonntag, 01. Mai 2005 | carrousel Theater - Turnhalle

SCHNAWWL - Kinder- und Jugendtheater am Nationaltheater Mannheim
FSK 16
von Kristo Šagor
Gustav Kiepenheuer Bühnenvertriebs-GmbH, Berlin
ab 13 Jahren | 75 Minuten

Director: Kristo Šagor
Stage and Costume Design: Barbara Kaesbohrer
Dramaturgy: Stefanie Schnitzler
Music: Sebastian Katzer
Actor(s): Nike Fuhrmann (Kirsten), Timo Senff (Stipe), Elisabeth Wasserscheid (Figen)
Video: Marc Reisner

Synopsis:

Friends Kirsten und Figen have made a bet that they can make a boy cry. They put their bet into action in an empty cinema where no late show is being shown. The young man that they have chosen as their victim is Stipe. He doesn't know anything about th

Vote:

'FSK 16' provides young guys with an outlet for all of their concerns about love, romance, sexuality and physical contact. Kristo Šagor has created an exceptional piece of theatre for youth, which looks at being caught between the wish for all of these things, but not knowing what to do. Already with the reaction to the age question we can see the ambivalence of feelings and of knowing oneself. The main characters play with their age in the same way the play does. At what age are we open for relationships, love, sexuality? At what age are we prepared to lie, to think up mean things and to do them? What age brings us to lie about truths and to devastate someone? Who is allowed, and at what age, to take part, to experience, to see, to be a voyeur? They simply wanted to do something, so that finally something interesting would happen. Kirsten and Figen wanted an emotional kick. Here there are no limits, no going back and no questioning half way through. It has to happen, so that something happens.

The ambivalence of the girls' world, as they play with the limits of closeness and distance is impressive in the play's script, in its performance and in the overall production. Just as a movie screen appears close at the beginning and far away at the end, so are the girls. Their dreams are further away. What seemed like a clear picture at the beginning is in the end far from what they had wanted. The more that the stage is opened, the more Stipe is allowed to show his inner world. He is not as cool and collected as he thinks his environment expects him to be. He is not clear about his feelings towards the girls. He lets himself be pulled into the game of seduction and provocation. He wants closeness and doesn't know how he can live it. He plays but doesn't know the rules. He lets himself be driven and misled until there is nothing left of him except his hurt. That is when he first begins to feel himself again. Lying on the floor he experiences a clarity in his feelings and gains the strength to stand up and leave, to follow his ideals.

Stephan Rabl

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