Augenblick mal! 2007

Freitag, 04. Mai 2007 | Theater an der Parkaue - Bühne 2

Consol Theater Gelsenkirchen
Blutrote Schuhe
von Charles Way
aus dem Englischen von Uwe Dethier
inspiriert von Hans Christian Andersens 'Die roten Schuhe'
TheaterStückVerlag Brigitte Korn-Wimmer & Franz Wimmer, München
Deutschsprachige Erstaufführung
ab 10 Jahren | 70 Minuten

Director: Andrea Kramer
Stage Design: Tilo Steffens
Costume Design: Sabine Kreiter
Dramaturgy: Christiane Freudig
Actor(s): Eva Horstmann (Mutter, Anna, Brotfrau, Erzählerin), Markus Kirschbaum (Vater, Doktor, Soldat 2, Erzähler), Svenja Niekerken (Franvera), Fabian Sattler (Soldat 1, Rotbart, Erzähler)


Franvera, a bright girl of modern times, has a dream: to be a dancer. She receives red dancing shoes as a gift from her parents. And as in fairytales, her red shoes have magical powers. Yet the reality of a brutal war doesn't allow her to fulfil her dr


Dancing to survive

Four actors with suitcases take over a room framed by extra high walls. The ensemble presents the story of a young girl named Franvera through a mixture of music, dance and acting. They transform the room where Franvera is being held, making it into their stage. War breaks into Franvera's life. Closeness turns into hate, fear and mistrust spread. Franvera's dream of dancing is pushed into the unattainable distance. From this point on the child is absorbed with other issues: the trauma of escape, expulsion, loss and of being different. She escapes the painful memories and pictures that surface when dealing with the time of her escape through movement, musicality and physical expression. Dance is her language. Her passion for dance becomes her nourishment. Franvera's story is not an easy one. She doesn't interact with acquaintances, doesn't get involved in every day activities. She represents a problem-rich biography that belongs to modern European reality, where people of many places leave their homes to live in places where they are foreigners. They, especially the children, don't make this decision consciously rather are forced to leave because of political developments.

The production presents the public with pictures from the media around this theme, calls focus to them and gives them colour through a personal story. The immediacy of the theatre experience allows the audience to take part in individual dilemmas, not only Franvera's but also those of others, such as her father who didn't survive the escape and her mother who is separated from her daughter during the escape and only hears of her survival much later. Through dance and theatre, the experiences are treated much differently than in reality. What is hidden becomes visible: when the daughter thinks of her father after his death and needs his help, he appears. She curls up against the wall, cuddles up while he strokes her hair and lets her feel his closeness and warmth. This makes her longing as visible as the father's / actor's need to provide security in such a time.

Petra Fischer

Back to overview