Augenblick mal! 2009
Dienstag, 5. Mai 2009 | Hebbel am Ufer - HAU 2
SCHAUBURG - Theater der Jugend, München
von Theodor Storm
in einer Fassung von Beat Fäh
Rechte beim Theater
ab 15 Jahren | 100 Minuten
Director: Beat Fäh
Musical Direction: Toni Matheis
Stage and Costume Design: Mandy Hanke
Dramaturgy: Dagmar Schmidt
Actor(s): Tim Kalhammer-Loew (Der reife Hauke Haien), Marie Ruback (Elke Volkert), Giorgio Spiegelfeld (Der junge Hauke Haien), Ullrich Wittemann (Ole Peters), Peter Wolter (Der erwachsene Hauke Haien)
Instead of playing games with the other children, Hauke Haien devotes all his efforts to building dykes. This is how a poor peasant farmer's son, bursting with ideas, has become an obsessive dyke warden who is lacking in social skills. Despite the resi
With the actors of the Schauburg in Munich, Beat Fäh has created a play which seems to run counter to the cliché of theatre for young people. Calm, concentrated, narrational, demanding on a literary level. The stage area draws what is happening far apart, separates the members of the audience so that they are able to see each other. The observer has to decide what he wants to watch: the core of a scene, figures, or the other spectators. The production is a reduced version, and doesn't show everything. The director's intention is only to suggest and to imply, creating tension with regard to what is not said and shown. There is always something that remains concealed, the actors always keep something back. A party taking place in a pub isn't loud, it is as if you are watching if from a long way away. Two lovers approaching each other are seen in the distance.
The actors are constantly changing levels, but without any conspicuous effort, for example from being the character to becoming the narrator to commenting on the character they are playing. They are always there, as a character, narrator, actor. They always have to involve themselves in what is happening, and cannot get away from the observer. Yet the director also gives them freedom. Only a few situations are tied to a specific area. The actors have to take charge of every performance, to re-invent the play every day. The productions turn into a constant approach towards the original work of literature. Which means that it is also taking a risk. Whether it succeeds depends on the immediacy of the method of narration also creating common ground with the audience. 'The Dykemaster' is fragile, always transparent in the resources it employs, and demonstrates what theatre can be: a moment of the utmost unity between the artist and the observer, yet a moment which can also fail.