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What does the Berlin folk stage want? On the first night of the premiere, under the controversial Chris Dercon, there were Tino Sehgal and Samuel Beckett. and surprising

Folk stage: A house loosens its muscles

What does the Berlin folk stage want? On the first night of the premiere, under the controversial Chris Dercon, there were Tino Sehgal and Samuel Beckett. and surprising

Folk stage: A house loosens its muscles
Content
  • Page 1 — a house loosens its muscles
  • Page 2 — opening archive
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    Before Eslosgeht (or seems to go), house loosens its muscles first. Mankann such a massive atre building as home of people's stage AmRosa-Luxemburg place in Berlin really imagined like a brawny beast, around starred and chiseled in stone, but inside it is crammed with loud moving, attached and switchable parts.

    The animal has waited a long time for its use. After all annoyance for directorial change VonFrank Castorf to Chris Dercon, first season of latter began on schedule a few kilometers away on Tempelhofer field, while very unscheduled ater in Berlin-Mitte suddenly from Activists was occupied. After a few days, at least it was concluded that had vacated, activists have been doing somewhere else since. Now Alsoendlich: The first real evening of new team in hallowed halls. Discussion was long enough about artistic change, now is being stepped into action.

    In GroßenSaal, which, except for lack of old seating, was almost restored to Originalzustandzurückversetzt (Castorf had, among or things, paved auditorium), technique, like VonGeisterhand, introduces a massive dance. From stage floor fahrenbreite ties up and down, from ceiling floats an enormous Lichtorgelund power disco, huge old chandelier is menacingly lowered übermPublikum, and from pits roars on as for half an hour impasse house a Heavy Metal loop by Ari Benjamin Meyers, this is played on Derkompletten lighting, bright, dark, bright, dark. It is Schonecht, re is no more beautiful adjective: cool.

    Waiting for Beckett

    After a few minutes, haunt is over. The technology comes to a stop, dasTier breas exhausted, doors go up, light is quite normal. Everything out of big Hall, waiting in foyer tino his performer. As a visitor you can now just get a beer a wine, stand up and listen. Or even chatting, among mselves, ignoring art. In fact, we were only waiting for DerVerdacht (or treasured wish) to be confirmed: it is almost like an exhibition opening, which allows Dercon, former museum man, with a few greatest hits of Situationenherstellers undKunstsuperstars Sehgal Play all rooms for an hour. In pages foyers left and right untensagen lonely two performers Ann Lee (2011) and Ann Lee Marcel (2016), up in star Foyer is offered to one of people a conversation, this is his this is exchange of 2003, if you want, you can get over denKapitalismus and so Talk.

    DieRaucher go out and see that police, who, before beginning of DerVeranstaltung to security, had literally turned off a few officials in front of door, has now been deducted. Evening. As a atre visitor you can play Jetztauch with yourself: Waiting for Beckett. Because that is Sehgal späterbei-or contrasted. Anor damn Kuratorenidee, all right. Derelende concept of "Eventbude", when Claus Peymann, Nunmehrehemalige director of Berliner Ensemble, has already introduced popular stage under Dercon, goes a short way through his head: whoever thinks it evil with Dercon, is also confirmed in it.

    Only frenzied language

    But's just rubbish. It's about something completely different here, nothing less a reconsideration of ater itself namely. But just by dieRekonstruktion of old, as it turns out finally, when Wirklichmal starts with Beckett, inside in big hall. All lights are erased, even escape notes for emergency, complete darkness is produced. As of Samuel Beckett himself, for performance of Not me, premiered in year 1972, first of three Beckett-enacts, which are now shown under DerRegie of former Beckett assistant Walter Asmus.

    Single tiny light appears and makes mouth of Anne Tismersichtbar, one and a half decades ago almost oversized star in ThomasOstermeiers stage staging of Ibsen Nora, memorable re, but since n little to see on stages. Tismer has gone to German atre a Wenigverloren, she has been lost. Tismer speaks exactly wievorgesehen breathlessly quickly monologue of a woman looking back on an uncertain unhappy life, on blatantly traumatic, everything gushes out of her, which short only from her own Verstummenfindet. This demands purest verbal acrobatics from actress, she hatabsolut nothing but frenzied language – and Tismer istumwerfend.

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