Augenblick mal! 2007

Sonntag, 06. Mai 2007 | Hebbel am Ufer - HAU 2

Junges Schauspielhaus Hamburg
Sagt Lila
von Chimo
in einer Fassung von Daniel Wahl
Rechte beim Schauspielhaus Hamburg
ab 16 Jahren | 100 Minuten

Director: Daniel Wahl
Stage and Costume Design: Viva Schudt
Dramaturgy: Michael Müller
Music: Benjamin Brodbeck
Actor(s): Konradin Kunze (Jo), Sean McDonagh (Mouloud), Julia Nachtmann (Lila), Renato Schuch (Chimo), Martin Wolf (Petit)


Chimo and his friends live in a ghetto on the outskirts of Paris. They aren't sure what they should do with their lives. Prospects for the future are pretty slim. That is until Lila enters Chimo's life. Shocked by her pornographic language and at the s



The actors and director don't have it easy with this material! Since it deals with the specific social situation of the french Banlieus. The material doesn't seem necessary to transmit to an audience who experienced the situation at most through the media and can otherwise not relate. All the more reason why the production is so powerful. It manages to overcome such reservation. Concrete, inhospitable suburbs are found everywhere. The discrepancy between rich and poor and the lack of perspective associated with it is apparent. This attitude to life and the living conditions are depicted in this production with all their unpredictable responses – plausibly and highly moving. The walls of the Hamburger Schauspielhaus' Malersaal form the stage space: naked concrete. Composed lighted space. Playing space. Empty space. Storage space for the feelings of monotony. With a touch of poetry. Is the blooming tree an ironic quote from Beckett's 'Waiting for Godot'? Here monotonous does not mean monosyllabic. The characters find themselves in permanent conflicting dialogue. Based less on dreams of the future as on a daily dose of hard reality and the difficulty to pass the time without losing control. Pit bull climate in the Malersaal.

Wonderfully presented: the unpredictability of an exemplary reacting group of followers, who directly evoke mobbing experiences from the young audience. Heaven forbid the wrong behaviour! Don't ever forget the group code! For the protagonist this means formulating painful explanations for her individual situation on the ramp. Convincingly and personally performed! – Then again and again: physicality. Not skateboarders in the half pipe, rather wolves on bikes looking for prey to attack in order to finish their day successfully. Above all is the longing for her, the girl/woman. She is contrast, utopia, antidote, antipode. In her actions, she stands for the hope of union. But which union? Sexuality seems only to be the means that SHE deploys, but what does SHE want? What can SHE really want? SHE is brilliantly represented in all her contradicting facets by Julia Nachtmann, who develops an amazing, natural directness with text that could easily have been played as self-loving and 'looking for effect'.

Jürgen Zielinski

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