Augenblick mal! 2013
Dienstag, 23. April 2013 | Theater an der Parkaue - Bühne 2
Junges Schauspielhaus Hamburg
Alice im Wunderland
übersetzt von Christian Enzensberger
in einer Fassung von Barbara Bürk
nach Lewis Carroll
S. Fischer Verlag, Frankfurt am Main
ab 8 Jahren | 90 Minuten
Director: Barbara Bürk
Musical Direction: Clemens Sienknecht
Stage and Costume Design: Anke Grot
Stage Design: Anke Grot
Costume Design: Anke Grot
Dramaturgy: Steffen Sünkel
Music: Clemens Sienknecht
Actor(s): Hermann Book (Eule, Hutmacher, Erzähler), Angelina Häntsch (Alice), Jonathan Müller (Dodo, Raupe, Hase, König), Christine Ochsenhofer (Schwester, Lama, Königin, Katze), Florens Schmidt (Maus, Haselmaus, Soldat), Clemens Sienknecht (Musik, Erzähler, Kaninchen, Ritter)
Musician(s): Clemens Sienknecht
Alice in Wonderland
Alice is lying on the grass utterly bored. She is almost half asleep when she meets a white rabbit which leads her into a completely new world in which Alice also changes. Suddenly she begins to ask herself: Who am I? I’m grow
When theatre begins to talk about dreams we’d do well to prick up our ears. And keep our eyes wide open. Well, we don’t want to miss the tricks with the sugar cakes, the empty headed boasters and the March Hares who might appear round the corner at any time. Alice’s dreams which take her down into Wonderland one afternoon are not really new. To be precise they don’t even belong to the world of theatre. But happily enough the best stories are simply timeless, and when we’re lucky they become a part of our lives without us having to bother about names or first-night venues. Indeed grinning Cheshire cats and a neurotic Queen of Hearts can always occupy a fond place in our hearts and minds.
The 'Junges Schauspielhaus Hamburg' has chosen to stage an adaptation of the well-known box of tricks by Lewis Carroll, an increasingly sure-fire hit for young audiences which as such should pose no real problems. That said the director and adaptor Barbara Bürk has not simply fallen back on a series of weird characters and tried-and-tested favourite scenes which often result in a hastily cobbled together show.
This production from Hamburg takes apart the traditional story carefully and cleverly and puts it back together for the stage in a unique fashion. The director has extended all the classical ways of devising a story for young theatre audiences and broken through quite a few barriers. Nonetheless her production continually refers back to traditions of performance which have shaped the theatre to the present day, whilst avoiding the easy option of simply 'preserving old monuments'. This light-footed version of the story turns Carroll’s absurd episodes once more on their head, comments on them and caricatures them, and gives the well-known chop-logic nonsense its own particular musical rhythm. Very much to the benefit of the original story and of course the audience, who are able to take this splendid piece of nonsense back with them into their everyday life.
Bernd Mand, Curator