Augenblick mal! 2007

Donnerstag, 03. Mai 2007 | Theater an der Parkaue - Bühne 1

Hans Otto Theater Potsdam
Wir alle für immer zusammen
von Guus Kuijer in einer Dramatisierung von Philippe Besson und Andreas Steudtner
aus dem Niederländischen von Sylke Hachmeister
Verlag für Kindertheater, Uwe Weitendorf GmbH, Hamburg
Uraufführung
in einer Dramatisierung von Philippe Besson und Andreas Steudtner
ab 9 Jahren | 60 Minuten

Director: Philippe Besson
Stage and Costume Design: Gabriella Ausonio
Actor(s): Anja Dreischmeier (Caro), Peter Wagner (Mimum), Jenny Weichert (Polleke)

Synopsis:

'All of us, together forever!' is Polleke's wish. Only reality is somewhat more complicated. She wants to be a poet and that doesn't go over well with her Moroccan boyfriend. He breaks up with her. It doesn't bother her that her parents are divorced. H

Vote:

Sometimes life is a poem

The character of Polleke is one that audience members of the same age identify with, allowing their perceptions, questions, uncertainties, doubts and fears to be united and felt – a strong, intriguing female figure that boys can also relate to. Already in the first few minutes of the performance, Polleke and the audience is hit with an abundance of conflicts to face, question and deal with. Sometimes Polleke thinks she is at fault for all the craziness in her life. At these times she escapes to her grandparents' and to her calf in the stall, longs for Mimun and writes poems.The ensemble brings an entire panorama of characters to life. Small decorative details create the springboard to change into new characters – sometimes for only a few minutes – and these in all their complexity. They become believable partners for Polleke. She has to stand up to them, argue with them, find protection in them. By avoiding caricatures and clichés additional life stories are shared, for example those of her grandparents, her father, her boyfriend Mimun and his Moroccan family, her mother and her teacher. The dynamic energy of the performance has an almost physical impact on the audience.

There is also room for tender, quiet moments, where the main character shares her low moments, loneliness, happy moments and helplessness. The set design / performance space avoids realistic settings, rather demands imagination and the incorporation of one's own experiences. The space is covered in quotes from Polleke's poems, surrounding the audience in the girl's thoughts. The more an audience member gets to know the character and her stories and enters her world, the more the written words on the walls come to life and open up. They hold thoughts that you would want to daydream about even after the end of the performance. The fact that the public sits across from each other becomes part of the story. Looking into the faces of the other audience members adds another dynamic and provides new experiences. In the same way that Polleke shares her stories, we share a part of ourselves with the other side of the audience through our reactions – and vice versa.

Petra Fischer

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