Augenblick mal! 2009

Freitag, 8. Mai 2009 | Theater an der Parkaue - Bühne 1

Theaterhaus Ensemble, Frankfurt am Main
Schwarz wie Tinte
aus dem Niederländischen von Rob Vriens und Susanne Freiling
Theaterfassung von Ruth de Gooijer
nach dem Buch von Wim Hofman
Rechte beim Theater und Theaterverlag Hofmann und Paul, Berlin
Deutschsprachige Erstaufführung
ab 8 Jahren | 50 Minuten

Director: Rob Vriens
Costume Design: Kerstin Laackmann, Anke Küper
Choreography: Erna Beenakker
Music: Fons Merkies
Actor(s): Uta Nawrath (Schneewittchen, Spiegel, Zwerg Dwin, Zwerg Vürg, Zwerg Siem), Susanne Schyns (Mutter, Jäger, Prinz, Zwerg Um, Zwerg Driem, Zwerg Füüf, Zwerg Seinx)

Synopsis:

'Black as ink' or perhaps 'Snow White revisited'? Two actresses tell the story of 'Snow White', playing the many different roles in the well-known fairy tale. However, by interrupting the dialogue on numerous occasions, each time they move from the fai

Vote:

'Snow White and the 7 Dwarfs'; then there are, as everybody knows, the stepmother, the hunter and the prince. And then, as is usual in narrative theatre, two narrators. And then – which is quite a surprise – one actress playing 'the mother', and one playing the grown-up 'daughter'. In 50 minutes, the audience is almost overwhelmed by 17 roles, with countless leaps between the narrative levels. The production lives from a double dramaturgic tension. One strand begins with a hunter attempting to murder a girl in the forest. The other begins with an actress who turns up late, and culminates in an argument between the two of them regarding what the fairy tale is about. In this way, and in addition to the Snow White story, there is a theatrical reflection on the fairy tale from the point of view of adults. The children can get a whole new impression of the story they already know. Through the fairy tale they consciously experience the means available to the theatre, and the freedom and obligation to interpret the material as disputatious and exciting.

The production communicates to the audience the power to read the mise-en-scène for itself. There is success in offering the pre-pubertal members of the audience new ways of seeing a mother's role as they go through the process of leaving the parental home. All this is done in a light, uncomplicated and direct way. The high level of artistic quality lives from rhythmical and gestural precision. Uta Nawarth and Susanne Schyns move swiftly from a chatty tone at the kitchen table to the royal gestures of grand opera, from clichéd acting to a psychologically empathetic dialogue with their own mirror image. In doing so, the well-known theatrical-pedagogical mirror exercise becomes a harmonious scenic idea which holds entire narrative strands together. Dance and song are also given double functions. There is a polished, simple stage set, and costumes which surprise the audience with fairy-tale transformations – especially in classroom presentations.

Anne Richter

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