Augenblick mal! 2007

Sonntag, 06. Mai 2007 | Theater an der Parkaue - Bühne 2

Theater Junge Generation Dresden - Puppentheater
von Lorenz Seib und Markus Joss
Rechte bei den Autoren
ab 10 Jahren | 75 Minuten

Director: Markus Joss
Puppet Design: Mathis Freygang
Stage Design: Mathis Freygang
Music: Christoph Hamann
Actor(s): Anna Fregin (Ismenius, Fiffi, Helveticus, Pirat, Cyntia), Mathis Freygang (Krixos, Ptolomaeus, Antigonus, Crassus), Ulrike Schuster (Spartacus' Frau, Koch), Lorenz Seib (Spartacus, Gorgias, Wuba)
Musician(s): Christoph Hamann


The year is 73 BC. Rome is in fear and terror: Spartacus, slave and gladiator, has fled with many comrades. The number of other insurgent freedom fighters keeps climbing. Soon they will attack the coast and reach boats that will take them home. However


Playing from yesterday into today

Four actors and actresses and a musician travel into the past: in a gladiator school, a group of slaves escape. Spartacus is named leader and carries the responsibility for the group. However, he is very preoccupied with his own life. Organised through the strict rules in the gladiator school, the escapees now have the opportunity and a need to find a way of living together, organising, implementing and further developing their new community. They must become aware of their own roles and talents – for themselves and for their community. Now that the centralized, externally defined limits are gone, they are confronted with their own growing notions of how they want to live. However individual perspectives are definitely defined through life experience: when the army of slaves capture prisoners, they postulate revenge and revel in the reversal of power – without thinking back on their own degradation, humiliation and loss of freedom. Spartacus however searches for a more human way of behaving and in doing so puts his position as leader in jeopardy. Does he even have the right qualities to be a leader? Does a community need a leader? What happens to thoughts of freedom when the chains are first removed?

The figures appear each time anew in the individual scenes right before the eyes of the audience. The actors achieve this by using masked heads in conjunction with matching simple greyblue costumes. The heads provide next to no individual details and are only differentiable through the physicality, voice and speech of the actor. Personalities develop. The stage becomes full of children, youth, old men and women. The physical and rhythmic actions of the actors create a lively world for the audience, with large, strong emotions. At the same time, a highly rhythmic speech pattern emphasizes the production's artificiality. The journey into the past allows the audience to arrive where the actors began their journey – in the present.

Petra Fischer

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