Augenblick mal! 2009
Samstag, 9. Mai 2009 | Sophiensæle
Junges Schauspielhaus Düsseldorf
von Juliane Kann
Hartmann & Stauffacher, Köln
ab 15 Jahren | 90 Minuten
Director: Daniela Löffner
Stage and Costume Design: Claudia Kalinski
Dramaturgy: Stefan Fischer-Fels
Actor(s): Sina Ebell (Sophie), Kathleen Morgeneyer (Katharina), Viola Pobitschka (Marla), Thiemo Schwarz (Matti), Alexander Steindorf (Moritz)
Like almost all seventeen-year-olds on the path to adulthood, Marla, Matti and Moritz have problems with their parents, their friends and with love. Drugs and medicines only make these problems worse. Maria suffers from the frequent absence of her fath
At the beginning and at the end, the actors stand in a row and look out into the audience, their open faces seeming to say "Thanks for being there and for letting us act for you". There are two declarations of love, somewhere in a no-man's-land between actors and characters, their public, and the medium itself. And in between, 90 minutes of extreme puberty – dealing in drugs, lying, stealing, racism, homophobia, neglect in a prosperous environment, insults, dependence, contempt for themselves, self-harm, but also desire, coming out, friendship and love. Julianne Kann's play has so many themes that you sometimes ask yourself whether it has a theme at all. As directed by Daniela Löffner, weakness is turned into strength. She draws unsuspected humour from the vulgar language; one look suffices, and suddenly aggression turns to vulnerability. Rapid changes of scene create effective changes of mood. Often situations are effectively staged against the main tagline of the scene – a farewell becomes a moment of maximum closeness, a mutual tirade of insults is only the banter which occurs before a warm welcome. Young people fight, adults fight, all too seldom on the same side.
The actors never try to portray people who are younger or older than they (the actors) are. It is our imaginations which create the mother and her son. The high level of abstraction is a visual school for a youthful audience. The wealth of scenic ideas contrasts with the basic reduction in the means used – music, sounds, liquids and only a few props. The constant presence of all the actors means that the audience has to pay attention. We never know which characters will encounter each other next. At the same time, what is so effortlessly created is a small tableau of society. We experience the director's and the actors' theatre of a high standard. This production is a valid description of today's pubertal realities of life: Spring Awakening 2009.