Augenblick mal! 2005
Freitag, 29. April 2005 | Haus der Berliner Festspiele - Seitenbühne
SCHAUBURG - Theater der Jugend, München
Zwischen Gut und Böse
von Suzanne van Lohuizen
aus dem Niederländischen von Barbara Buri
Münchner Fassung der 'Geschichte von Rama'
Verlag der Autoren, Frankfurt am Main
ab 10 Jahren | 80 Minuten
Director: Peer Boysen
Stage and Costume Design: Peer Boysen
Dramaturgy: Dagmar Schmidt
Music: Toni Matheis
Actor(s): Max Bauer (König Peter), Corinna Beilharz (Ute - König Peters Tochter), Lisa Huber (Sängerin, Margarethe - Caspars Schwester), Sabrina Khalil (Der Meister, Caspar), Yogo Pausch (König Konrad), Armin Schlagwein (Hanuman - ein Diener), Klaas Schramm (Friedrich - König Konrads Sohn)
Musician(s): Yogo Pausch
Sound effects: Max Bauer
People are faced with decisions between good and evil many times a day, over and over, independent of age and experience, religion and culture, until the end of their lives. Sometimes these decisions are everyday banalities, whose consequences are quic
"It is for this reason that the split in orthodox and heretic interpretations and interpreters has to be let go. Think about how narrowly students often work on the right or widely adhered to 'accomplishment' of texts, mentioned in written notes or a wrap-up, and how infinitely wide-ranging the reader's participation with the text could be."
Klaus Doderer: Literary Youth Culture
Dutch author Suzanne van Lohuizen has reworked the Indian epic 'Ramayana' for children's theatre. Her play, 'Die Geschichte von Rama' (The Story of Rama) is the foundation for the production 'Zwischen Gut und Böse' from Munich's SCHAUBURG. In addition to the original Indian lore, European motives have been woven throughout. The story of Rama and Sita, becomes the story of Friedrich and Ute. In both versions, the newly-wedded royal couple are next in line to take over the throne. However, before this can occur they must be banished for fourteen years, defeat rivals, survive a kidnapping, capture a demon and to find their way 'between good and evil'.
The archaic material is staged by Munich's SCHAUBURG as an elaborate storytelling theatre piece. Accompanied by two musicians, five actors act and narrate the story. The complexity of this precisely composed production, the quality of the literary text, the stylised acting, set and costumes are atmospherically tight, but puzzling. These overweight children, Fritz and Ute, wearing pastel purple and yellow do not seem much like heroes! And what kind of demon is this secretive woman in the high-necked black dress from a past century? What place does a butler with a Rhine dialect have in a mythical tale? We don't see any blood shed, instead the storm of sounds coming from behind the black gauze from the scarcely recognizable musicians leaves the audience with the feeling of a "horrific butchery with an inexpressible number of victims".
The understated illustration of the story avoids menacing clichés, such as those seen in other hero and fantasy stories that dominate new media. Instead, the audience's attention, imagination and interpretation abilities are strongly challenged. The children must develop their own images of the story, make sense out of codes and follow the 'collage rules' of the performance. In an introduction before the show, the children are encouraged and empowered. "You can let yourself be carried by single pictures and impressions and then build on them with your own imagination. You can also pay painstaking attention to follow the steps that we took during the rehearsal period, or accompany a single actor through the play where each character must find his way between good and evil." If the production is successful in increasing the audience members' participation, activating their imaginations and independent thinking, they will have the impression of having been co-creators in the performance.