Augenblick mal! 2009

Dienstag, 5. Mai 2009 | Theater an der Parkaue - Bühne 3

Theater an der Parkaue - Junges Staatstheater Berlin | Showcase Beat Le Mot, Hamburg
Der Räuber Hotzenplotz
von Otfried Preußler
Verlag für Kindertheater Uwe Weitendorf, Hamburg
Eine Koproduktion von Showcase Beat Le Mot mit dem Theater an der Parkaue - Junges Staatstheater Berlin und dem Forum Freies Theater, Düsseldorf
ab 6 Jahren | 120 Minuten

Director: Showcase Beat Le Mot
Stage and Costume Design: Showcase Beat Le Mot
Dramaturgy: Showcase Beat Le Mot
Music: Miguel Ayala
Actor(s): Nicola Duric (Kasperl), Thorsten Eibeler (Räuber Hotzenplotz, Wachtmeister Dimpfelmoser), Dariusz Kostyra (Seppel, Unke, Fee Amaryllis), Veit Sprenger (Großmutter, Petrosilius Zwackelmann)
Composition: Miguel Ayala


The robber Hotzenplotz lives in the forest and is armed with seven knives and a pepper pistol. He takes his 'profession' seriously and lives up to his name. Police officer Dimpfelmoser fails again and again to get on his track. When Hotzenplotz even st


I was completely surprised by this performance, which overwhelmed me. Only rarely had I ever seen a production for children developed from the ideas and which tries – with a stage language all of its own – to open up the often conservative narrative structure of children's theatre. The way this succeeds here is very impressive indeed. The stage is a construction of boards which establishes different scenarios by the use of the revolving stage. It is an abstract installation which does not attempt to create illusions. The actors wear monochrome full-body leotards and slip into plywood frames which, with the appropriate utensils, become bearers of signs and meanings. The grandmother carries a covered coffee table, and Hotzenplotz several knives, in front of them. It is a strange world, full of associations, yet one which the children have no problems in accepting. Is this perhaps because of the retention of the simple basic action of the story, out of which the comprehensively used theatrical means unfold in such a humorous way?

In addition to choreographic elements, magic, marionettes, improvised passages and video recordings, the music is a supporting element of the production. Above all it is the humorous ragga songs which sometimes sympathise with Hotzenplotz's unbourgeois existence, sometimes give the children tips on how to live life, or encourage them to sing along. And generally, the children are included in a very casual way in the story, while never being looked down on. Clearly, the intention is to demystify the theatre, whether by the permanent visualisation of the means or the denial of the classical form of theatre. Texts are spoken without pathos and psychology. What all this creates, including with the charming style of presentation, is a high level of comedy. And, on occasion, a touch of illusion is permitted to appear. I am surprised by so much innovative theatre, on a high artistic level, which overlaps different genres, and my mood as I leave the theatre is one of joyful delight.

Werner Mink

At the 'Theater Festival Impulse 2007', this production was awarded the Goethe Institute prize.

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