Augenblick mal! 2009

Samstag, 9. Mai 2009 | Hebbel am Ufer - HAU 2

Ruhrtriennale, Essen | Theater Basel
Next Level Parzival
von Tim Staffel
Rowohlt Theaterverlag, Reinbek
Eine Koproduktion des Theater Basel mit der Ruhrtriennale und dem jungen theater basel. Ein Auftragswerk der Ruhrtriennale
ab 13 Jahren | 105 Minuten

Director: Sebastian Nübling
Stage Design: Muriel Gerstner
Costume Design: Ursula Leuenberger
Dramaturgy: Uwe Heinrich, Peter-Jakob Kelting
Music: Lars Wittershagen
Actor(s): Lorenz Baumgarten (Clamide), Salome Bessenich (Jeschute), Andrea Bettini (Ither und Knappe), Raphael Brunner (Sylvio), Judith Cuénod (Annika), Moira Gillieron (Hedda), Julian Gresenz (Gawan), Marco Jenni (Lukas), Tobias Koch (Yannik), Ian Purnell (Oktay), Hans Jürg Müller (Artus), Erik de Quero (Orilus), Katharina Schmidt (Orakel), Sarah Speiser (Ginover), Sandro Tajouri (Parzival), Anat Treubig (Chloe), Linda Werner (Condwiramurs und Liaze)


In the course of a LAN party, seven young people encounter the Parzival virus, which breaks through all the rules of 'King A', the computer game. They decide to discipline it, but the more the virus learns, the more chaotic everything becomes. Parzival


The words 'youth' and 'PC games' are usually followed by a string of culturally-influenced pessimistic attributions, starting with 'danger of being isolated from society' and ending with 'fantasies about running amock'. However, in 'Next Level Parzival' the computer game, 'Artus' is a kind of land of yearning, with impressive sound and graphics, in which emotions can be experienced in battle and songs of courtly love. In addition, it nourishes young people's need for rules and fairness. Seven young people who are crazy about computer games meet in 'Second life', where they have created chivalrous avatars who battle for love and honour at King Arthur's court. Their personalities, their problems with relationships, their longings and self-images, become visible in the actions of their virtual surrogates. This is how such difficult questions as 'Who am I?' and 'Who do I want to be?' are dealt with using a lightness of touch.

The line between the two levels – the games of the youthful protagonists and of the virtual actors – begins to blur when courtly love and morals, kissing and fighting no longer respond to the computer keyboard, the computers seize up, and reject the commands. A loss of control. A virus has crept in: Parzival. Just as in Eschenbach's poetic epic, he knows nothing of the world he is entering. He brings about the collapse of the game and reality level, leading to further questions on stage: How should an outsider be dealt with? When is one allowed to break the rules? And what do you do when there are no rules? The Parzival-paraphrase in the cyberspace age is performed with an inspirationally playful frenzy on a stage which has been turned into a battlefield with gigantic towers of loudspeakers. Wild leaping, flying pizzas, clashing swords, touching declarations of love. The multi-layered sound track plays a major role and seems to come directly from a comic strip. A thrilling game with a sensitive feeling for the emotional – but also comical – turbulence and ambivalence experienced by the young gamers.

Barbara Kantel

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