Augenblick mal! 2007

Donnerstag, 03. Mai 2007 | Hebbel am Ufer - HAU 2

SCHAUBURG - Theater der Jugend am Elisabethplatz, München
Das Trollkind
von Göran Tunström
aus dem Schwedischen von Dirk H. Fröse
nach Selma Lagerlöf
Gustav Kiepenheuer Bühnenvertriebs GmbH, Berlin
ab 9 Jahren | 75 Minuten

Director: Johannes Schmid
Stage and Costume Design: Michael Kraus
Choreography: Birgitt Paulus
Dramaturgy: Göran Tunström
Music: PORTMANTEAU
Actor(s): Oliver Bürgin (Bauer), Tamara Hoerschelmann (Bäuerin), Sebastian Hofmüller (Knecht, Alter Mann), Stefan Maaß (Erzähler, Trollkind, Menschenkind), Marie Ruback (Magd, Trollfrau, Alte Frau)
Musician(s): Gerald 'Greulix' Schrank (Schlagwerk), Christian 'Taison' Heiß (Laptop)

Synopsis:

While riding through the dark woods a young couple loses their child. A troll woman observes the strange looking humans and takes her chance. She takes the human child and leaves her troll child behind instead. Although the farmer's wife grieves for he

Vote:

A case for individual life paths and the absoluteness of parental love

The arena stage demands decisions, for example, where to sit, where to look, who to follow. There is not just one performance space to focus one's attention on. The play also takes place on, under and between the rows of seating and in a variety of other locations. Even the actors change – between people and troll child, between narrator and observer. The child, created as a bundle out of white sheets, is treated like an object – as such the child is exposed to the interests and abilities of the adults. Sometimes the actor clutches the bundle as if wanting to protect it, sometimes he is the child, and wraps himself up in the sheets, making sounds and noises. Then he gives the bundle back to the parents and watches from the audience, reacts, asks questions, fosters awareness, and pushes the action forward – as representative for the audience.

Apart from this clear partisanship for the child, the production opens doors into the adult world: what goes on in the parent's bedroom? What expectations does the father place on his wife? When the child won't stop screaming, the original pity felt by the father and mother grows to annoyance, then transforms into helplessness that is unloaded as aggressiveness. Father and mother are forced to face how strange and foreign the child is to them, but that help, devotion and care cannot be dependant on this fact. Audience members, like the characters, are drawn into the decision-making situations and experience the struggle for positions. The difficulty of the task is brought to life but no final result is presented. The public sits in the middle of the action, takes sides, is guided in directions that later prove to be wrong and fall, like the characters, into emotional and real pits, which require working together to get out of. A case for the individual life path of every person – whether figure, actor or audience member.

Petra Fischer

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