Augenblick mal! 2007

Sonntag, 06. Mai 2007 | Theater an der Parkaue - Bühne 3

theater magdeburg
von Jan Sobrie
aus dem Niederländischen von Eva Maria Pieper
TheaterStückVerlag Brigitte Korn-Wimmer & Franz Wimmer, München
Deutsche Erstaufführung
ab 13 Jahren | 60 Minuten

Director: Stephan Beer
Stage and Costume Design: Dorothee Neuling
Dramaturgy: Helge Hübner
Actor(s): Robert Neumann (Titus)
Assistance: Christina Vandekerckhove und Kopergietery


Jan Sobrie captivatingly tells about the life of a young man. Titus is somehow nothing special. His first love left him. He is the son of a butcher who named him after his favourite pig. Because he is ashamed of his name, Titus prefers to identify hims



A monologue? Is that necessary at Germany's number one youth theatre festival? Yes, it is! Not only because theatres offer a range of monologues and solo-performances in their seasons and provided us with a selection to choose from, but also because the dramatic form of a monologue seems to be a literary reaction to a growingly apparent phenomena of retreating behaviour. The character: trapped in his bedroom, not yet as strong as Titus and still without the protective feeling of the 'shifting wall' against the threatening outer world. The simple stage marks break up, breakdown and explosive force. Broken walls, paint cans whose content should plaster childhood. A young person carries unlimited potential in himself. He asks questions incessantly. He tries to understand the world and searches for a way out. The text is the associative foundation for playful thought processes, starting with the 'I' and his relationship to the world, and is at the same time wonderfully funny. This production for girls and boys is performed by an outstanding actor: quiet, quick, humorous, direct.

The text, written by a Belgian author and actor, was brought to life believably, unpretentiously, tenderly and colourfully by a young German director – although altogether not a German production. Video games, powerful music and stage effects guarantee effect, but are not obtrusive. The production understands puberty as a chance, even when it is about life and death. With a soft, self-evident and believable narrative he rips open his thoughts as room for retreat, making dealings with everyday frustration and hurt tangible – determined not only through concern, but through drilling questions and agonizing search. When the actor turns to the audience, his speech remains pleasantly unintrusive and natural, as if the youth audience simply belongs there, as if it has the same questions, or could give answers. Then he retreats back into the thoughts and actions of Titus and pulls the public with him, enmeshing them in an almost implicit dialogue. In the end you fear that he will possibly fall silent.

Jürgen Zielinski

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