Augenblick mal! 2005

Donnerstag, 28. April 2005 | GRIPS Theater

PROFUND Kindertheater e.V. | FUNDUS-THEATER Hamburg
Schuluhr und Zeitmaschine
Eine Science Fiktion in Echtzeit
eingerichtet von Sibylle Peters
Rechte beim Theater
Klassenstufen 2 bis 6 | 60 Minuten

Director: Sibylle Peters
Stage Design: Bianka Buchen, Noreen Schindler
Dramaturgy: Petra Sabisch
Music: Tatjana Gwiasda
Actor(s): Stephan Münte-Goussar (Zeitforscher), Sibylle Peters (Zeitforscherin)
Film: Hanno Krieg, Stephan Münte-Goussar


School clocks are time machines: When children come to school they learn that our world is organized by time. Time organization is done at school. However, it is not just about appointments and punctuality, but about plan, duration, the value of time,


"There is no dichotomy here between play time and the time being played. Time is not being played here. Here there is only real time that we experience in our own bodies."
Peter Handke: Public Bashing

'Schuluhr und Zeitmaschine' is a performance project for children. Together with the children, the phenomenon of time, in particular school time, is explored. What is time? Who creates (school)time? Philosophical conversations and practical experiments are documented on film and built into the project's second part: a performance based on the theme 'Time'. Every school class experiences an original production and the performance becomes a live happening between the actors and audience members who see not only time but themselves as the performance's main theme.

"We are not telling a story about time", we are told at the beginning of the performance. Instead, the children are invited to experience the theatre as a time machine. The trend in storytelling theatre is to break the absoluteness of dramatic communication – that means not just acting out a fictitious story from the stage, but to communicate directly with the audience – 'Schuluhr und Zeitmaschine' uses this to its fullest. The performance tries to avoid fiction and temporary references. An example in the performance is when the actress mentions "arriving right this second". And at that moment she changes her electronic reverb-disguised voice to her unaided speaking voice, or when speech is repeated while the actress swings on a clock pendulum and the duration becomes real for the children in the audience too. The children react audibly when they suddenly see themselves and their classmates as part of the performance. At the end of the performance the children must decide: was that theatre? Or did we try out a time machine? The artists don't claim to have strong knowledge about time or theatre, instead they explore both together with the children in the audience.

The children's participation in both parts of the project is on the one hand a necessary consequence of theatre, i.e. performance theory premise to make the event of the performance the theme in itself. On the other hand, it is grounded didactically, led by Sybille Peters' artistic and scientific understanding. "Children do not learn by hearing facts, they need to discover the world. They undertake complex experiments in order to better understand their environment and to better communicate. Children, artists and scientists have something in common: we are all researchers." It is my wish that this project helps to provide hints as to how we can combine our artistic practice and reflection, and how to embark with children on theatrical research journeys of exchange.

Geesche Wartemann

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