Augenblick mal! 2011

Samstag, 14. Mai 2011 | GRIPS Mitte

junges theater konstanz
A Clockwork Orange
von Anthony Burgess / Royal Shakespeare Company
aus dem Englischen von Bruno Max
Thomas Sessler Verlag, Wien
Eine Kooperation mit der Hochschule für Schauspielkunst 'Ernst Busch', Abteilung Puppenspielkunst, Berlin
ab 16 Jahren | 95 Minuten

Director: Hans-Jochen Menzel
Stage and Costume Design: Jasmin Gehrandt, Peter Lutz
Puppet Design: Peter Lutz
Dramaturgy: Sophia Lungwitz
Actor(s): Arne van Dorsten, Magdalene Seyerle-Schaefer, Rodrigo Umseher (alle Puppenspiel)


Everything is a game for Alex and his 'droogs'. The thing the kids like to do best is to start their violent activities with a visit to a bar before they beat up drunks or rape women. But then Alex is betrayed by Pete and Düm, arrested and sentenced to


Hans-Jochen Menzel and his powerful company have elected to take a drastic and enthralling look at this classic. Their production of 'A Clockwork Orange' hits the core of the matter right on the head. Here we are exposed to nothing less than an individual's free will to use brute force and indulge in bouts of archaic frenzy. The show begins at the end of the story. Three doctors talk shop about the patient lying in front of them on the operation table. In fragmentary phrases they take up current discussions on the ethical and scientific boundaries of controlling people beyond human nature. Then the puppet/patient Alex comes back to life. He takes over the game and also takes control of its outstanding players. Alex is the boss here. It is his story.

That said, the clinical framework of puppeteers remains the basic situation: dividing walls on rollers only give a meagre protection to the individual. Here everybody instrumentalises everyone else. Here people are beaten up, throttled, raped and tortured for pleasure. Human beings treat puppets as rabidly as puppets treat people. The players and the puppets become doubles, fighting each other with archaic violence. The high level of acting pairs evil with naiveté and turns it into a joke; drastic images with moving scenes at a pinch. When Alex is forced to hand over his shades, his bare eyes reveal how lost he is. I have not experienced anything so moving for a long time. The eternal cycle of violence is what it is: brutal and grotesque, cold and sensual, gripping and abhorrent. The circle is closed. The play's ending goes further than the novel on which it is based. It takes the title seriously. Inside the puppet of Alex ticks the clockwork orange.

Anne Richter, Curator

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