Augenblick mal! 2007

Mittwoch, 02. Mai 2007 | Theater an der Parkaue - Bühne 3

Deutsches Nationaltheater Weimar / THEATER AN DER PARKAUE, Kinder- und Jugendtheater des Landes Berlin
Amoklauf mein Kinderspiel
von Thomas Freyer
Rowohlt Theater Verlag, Reinbek bei Hamburg
Eine Koproduktion des Deutschen Nationaltheaters Weimar mit dem THEATER AN DER PARKAUE, Kinder- und Jugendtheater des Landes Berlin
ab 15 Jahren | 70 Minuten

Director: Tilmann Köhler
Stage and Costume Design: Gilvan Coêlho de Oliveira
Actor(s): Thomas Braungardt (T), Elisabeth I. M. Heckel (E), Cornelia Rosenkranz (C)


The production presents life for the post-wall generation. The story is told from the perspectives of three youth, trapped between western society and the DDR-rooted thinking of their parents and teachers. The directionless adults see their newly won f



The production confronts us with a young team who remembers their school years well and has obviously worked intensively with its public during the development of the production. Questions of taste should be put aside. The production is acted and directed without taboos. What seems in the early, 'easier' part of the evening to be improvised, reminding of theatre sports, develops suddenly into blocked and directed dialogue. The action takes place in a minimalist, meaningful staged school set. In front of the blackboard there is no chance to exit, only to enter. The three actors unleash a spectacular entrance.

The lightness of the action by the character-swapping actors is exact and believable, without having to delve into superficial adolescent habits. The high-tempo use of the text is nevertheless filled with nuances. Chalk dust instead of counter strike. The second part of the production strides forward with powerful, flagrant, but never denunciatory text. Where some directors' love of tempo can sometimes seem exaggerated, the rapid pace works here. It develops an undertow that takes the audience with it. The action increases to fury. Distance and closeness interchange. The production never lets the audience out of its sight, keeps them relentlessly in view and heightens the finale into a bombarding of questions. That this stirs up uncomfortable feelings for audience members, is a given of the material and theme. That there are no easy solutions from school medicine is the strength of the evening. Eat the poison that is around you, but don't die of it! Live! But not like your parents' generation who swallow every frustration. The characters seem to finally understand life. But what do they want to learn now and from whom?

Jürgen Zielinski

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