Tag: +child
Meeting with Andreas Kriegenburg
The Pursuit of an Alternative
The Pursuit of an Alternative
The whole floor is flooded with two inches of water. A multi-coloured mountain is centre stage. A stack of clothes stands for a stack of bodies. This is the opening image of Lampedusa, Anders Lustgarten’s play at its German premiere directed by Olaf Kröck.
Stefano is a Sicilian fisherman who, since the boats have begun landing on the shore of the small island, is appointed to “fish out” the terrified survivors or their drowned bodies. Denise is a payday loan collector from Leeds. The actors are on two opposite sides of the stage; the characters they represent are separated by different backgrounds and hundreds of kilometres. What brings them together is not the refugee crisis but rather what this tragedy represents: the sense of hope photographed as it struggles to survive.
In programming the themed month The Own & The Foreign, the Schauspielhaus Bochum completed some remarkable juxtapositions, as the one of Lampedusa and Elfriede Jelinek’s The Suppliants / Appendix / Coda / Epilogue grounded, a play in four episodes that reflects on the refugee crisis with a rigorous analytic method, typical of the Austrian Nobel Prize laureate. Acquiring the title by the namesake Aeschylus’ tragedy in which the Danaids seek asylum in Argos, The Suppliants is an acidly ironic invective against the current European asylum policies that puts together actual facts and figures, numbers and moral statements to create a post-dramatic Golem of the language. In the presence of such a multi-layered and wordy text, filled with data, details and double entendres, it’s undoubtedly hard to find a space for any outstanding mise-en-scène solution. Yet, Hermann Schmidt-Rahmer’s direction and Thilo Reuter’s stage design—a concave map of refugee routes as a ceiling from which baby dolls pour down—enriched by screens and video projections, manage to keep the scene still but alive. Contrary to Lustgarten’s, Jelinek’s architecture of thought needs no characters: the actors, even though operated as marionettes and mouthpieces, succeed in giving back the power of the text through frenzied interactions and crazy costumes (designed by Michael Sieberock-Serafimowitsch).
It maybe interesting to confront Schmidt-Rahmer’s words spoken at the Café Europa roundtable and an excerpt from a Jelinek interview: one said that “theatre has to talk about things that we don’t know how to deal with”, the other: “I force the language to tell the truth even against its own will, a kind of truth that is present in the language anyway; where the language is keen to lie to us, I forbid it.”* As in any proper political form of theatre, in both the author’s and the director’s view, the short circuit seems to be completed by the audience that is forced to consider even the most unpopular perspective. From a point of view distorted by Euro-centricity, the lives of the migrants might really be worth nothing more than a pile of lifeless dolls, or a stack of abandoned rags.
And thus goes a line from Lampedusa: “Our glorious leaders want the migrants to drown, as a deterrent, a warning to others. If those men in their offices knew what we were coming from, they’d know we will never, ever stop.”
At the Café Europa roundtable, Anders Lustgarten talked about the intricate and unpopular political debate around the theme pointing out a precise cause: “The absence of a story.” To face such a bulimic flow of information and the consequent exploitation by the media and the political parties “an alternative story” should be created, to reinvigorate “the possibility of an agency,” without which the raise of “any kind of hope becomes impossible.”
As well as being a playwright and devising drama courses for prisoners, Lustgarten is committed to activism, a practice that he defines as “highly horizontal, that does not believe in leaders.” Indeed, his play Lampedusa can be seen as an apologue about the essence of activism: both of the two very different personalities walk the thin line between a moral commitment that comes from an emergency situation and the atavist fear that comes with an unexpected responsibility.
Stefano finds himself withered by the passiveness with which he performs his forced assignment; Denise’s task puts her in a dominant position and, at the same time, that very expression of power might drive her to an ethical dissolution. Almost unconsciously they both seek redemption, one by rescuing the wife of a survivor, the other by coming to terms with a long-last rift in the relationship with her sick mother.
Such a game of mirrors follows a rigid and cruel structure in Lustgarten’s text—with the two characters exchanging looks only at the very end—while Kröck’s staging builds up an invisible bridge between Stefano and Denise. Even though their paths never actually cross, the two of them share a repertoire of desperate gestures, splashing in the water, picking up the floating rags and even kissing each other. The text alternates Stefano’s simple but insightful tone with Denise’s thick dialect and ill-concealed anger, giving the two intertwined monologues a verbal rhythm that the actors—framed in a well-lit but immobile space—are not always able to revive in the performance. On the other hand, this general paralysis, broken in the final scenes, resonates in the broader discourse brought up by the British author: these two personae are in search of an alternative story. The possibility of agency requires the ultimate responsibility, the active role of an “own” towards the faraway reality of the “foreign”.
Published on 19 April 2016 (Article originally written in Italian)
Hiob. Longing and belonging
Hiob. Longing and belonging
In 1916, Joseph Roth decided to interrupt his studies to join the Imperial Habsburg Army on the Eastern Front. For his future career as a writer, taking part in the greatest and bloodiest conflict of the modern age would not only mean bearing witness to a humanity waging a war, but also to the war exploding within human beings. The Austrian-Jewish writer once said, “Es kommt nicht auf die Wirklichkeit an, sondern auf die innere Wahrheit” (What counts is not reality, but the inner truth). It is possible to look at Roth’s whole journey into life as an expression of such a radical point of view that in most of his writing actual and fictional facts are indissolubly blended.
The powerful lecture entitled “Can a person be saved?” held by Koen Tachelet — author of the stage adaptation of Roth’s 1930 novel Hiob — addressed some of these questions, giving shape to the writer’s ability to describe the desolation of a tormented soul. “Ten kilometres from the bullets”, Tachelet said, “Roth wanted to experience the intensity, to immerse himself in the events”, grasping “atrocious moments of terrible beauty”. Hiob (Job) — whose title comes from the biblical character who is deprived of everything good and joyful as God puts his faith to the test — is nevertheless the story of an exile, both physical and moral. Mendel Singer is a “simple man”, a God-fearing orthodox Jew that teaches the Bible to twelve pupils in a small village in Tsarist Russia. The birth of Menuchim, his fourth son, who is afflicted with epilepsy and apparently incapable to communicate, will become the symbol of a relentless decadence. On the eve of the war, the whole family moves to New York, leaving Menuchim behind. Mendel’s faith is challenged by a sequence of adversities, but is eventually rewarded by the unexpected return of a grown up Menuchim, who has become a famous composer.
As Tachelet pointed out, the cornerstone of the adaptation and of Lisa Nielebock’s staging alike is the idea that leaving your country, or life, or family behind equates to losing your identity. With his wife, Deborah, dying, his daughter, Mirjam, going crazy, Mendel is no longer able to locate his own essence as a human being. This reflection immediately relates to the current refugee flow into Europe, “Today”, Tachelet argues, “there is no Promised Land, these people are moving to other places because they already lost their own. They are human beings in a permanent state of limbo, whose security seems only possible through separation, segregation, isolation”. That’s how our fears get frozen into a sort of moral paralysis. And that’s what happens with Mendel/Job once he realizes that he must shoulder the blame for the collapse of his family and its dreams.
The seven actors always remain on stage, trapped in the set designed by Oliver Helf that is an angular wooden box with no exit route; when Deborah dies, she quietly sits stage left. The characters’ journey on the “road to ruin” is thus visible from beginning to end: the group crosses the stage similarly to the oscillatory movements of the undertow in a sort of never-ending exile. Michael Schütz gives shape to a brilliant and powerful Mendel, embodying the tragic essence of the character without renouncing irony; and Jana Schulz transforms Menuchim into an ambiguous creature half between the ghost of Mendel’s past and a guardian angel of his future. In the very moment Mendel decides to leave Russia for America, he starts longing for the “inner motherland” where he belongs; there is no Promised Land because there is no present: the past has been dug under the expectation of a future. And Mendel is trapped between longing and belonging. The paradoxical happy ending devised by Roth, in which Mendel recognizes his lost son through the presage of “Menuchim’s Song”, is well rendered by Nielebock through the opening of the box on a line of blinding spotlights. Menuchim’s muteness dissolves into the simple and adamant speech of a lost child who wins back his family; and the serene atmosphere (all the characters wearing a quiet smile) suggests the interpretation that the whole ending might be a sort of ultimate dream, a Chekhovian farewell to the living. Abandoning reality in search of the inner truth.
Hiob | Job Based on the novel by Joseph Roth Adapted for the stage by Koen Tachelet
Director | Lisa Nielebock Stage Designer | Oliver Helf Costume Designer | Ute Lindenberg Music | Thomas Osterhoff Light Designer | Andreas Bartsch Dramaturgy | Kekke Schmidt
Opened on 6 September 2015 Kammerspiele, Schauspielhaus Bochum, Germany Cast | Mendel Singer – Michael Schütz, Deborah – Irene Kugler, Menuchim – Jana Schulz, Mirjam – Xenia Snagowski, Schemarjah / Groschel – Florian Lange, Jonas / Kosak / Mac / Skowronnek – Damir Avdic, Doktor / Kapturak / Bauer / Psychiater / Menkes – Klaus Weiss The performance was shown with English surtitles in context of the General Assembly of the UTE at the Schauspielhaus Bochum, on 8 April 2016. Published on 11 April 2016 (Article originally written in Italian)
The Shack – the programme brochure
The Shack:
The programme brochure
of the Comédie de Reims
Read the programme of LA BARAQUE at the Comédie de Reims here:
Dossier_La Baraque
Published on 3 December 2015
The Serbian Press about THE DRAGONSLAYERS
Excerpts from the Serbian press
about THE DRAGONSLAYERS
Translated from Serbian into English by Marija Stojanovic
- Tatjana Njezić
THE PRICE OF DREAMS OF JUSTICE
Interview with Milena Marković,
authoress of the play THE DRAGONSLAYERS
BLIC, 2 April 2014 - Borka G. Trebjesanin
YOUNG BOSNIAN’S REBELLION RESEMBLED THE PUNK REBELLION
Interview with Iva Milosević, director
Politika, 3 June 2014 - Olivera Stojimirović
WHAT WE GAINED IS IRRELEVANT,
IT’S WHETHER WE LIVED HONOURABLY THAT COUNTS
Young Actor Nikola Rakocevic plays Gavrilo Princip
Nase novine, 7 June 2014 - Ivan Jovanović
Review of the premiere of THE DRAGONSLAYERS
at the Yugoslav Drama Theatre, Belgrade
Novi Magazin, 12 June 2014
Published on 23 November 2015
God waits at the Station – the programme brochure
God waits at the Station:
the programme brochure of the Habima – National Theatre of Israel
Click on the link to read the programme of the Habima:
Habima_God Waits at the Station_programme
TEXT REFERENCES:
Maya Arad:
About God waits at the Station.
IMPRINT
Habima – National Theatre of Israel
Season 2015/15
Published on 18 November 2015
The Dragonslayers – the programme brochure
The Dragonslayers:
The programme brochure of the Yugoslav Drama Theatre
Click on the link to read the original programme
of the Yugoslav Drama Theatre:
zmajeubice program 15-11-25
You’ll find the English translation of all the interviews, articles, texts,
poems and essays also on our TERRORisms Special Issue.
IMPRINT
Publisher: Yugoslav Drama Theatre Belgrade, Serbia
Season 2013/14
Published on 18 November 2015
Interviews from Russia- Part 2
Interviews from Russia
Part 2: Mikhail Shvydkoy
„So believe me,
for the Investigation Committee
having to deal with „art“ cases is worse,
than the torture with fire or water“.
Mikhail Shvydkoy
for the Investigation Committee
having to deal with „art“ cases is worse,
than the torture with fire or water“.
Mikhail Shvydkoy
In the spring of 2015, the young journalist Nina Mochalova from Moscow interviewed several personalities of cultural journalism and cultural policy on the current situation of theatre in Russia.
Interviews from Russia #2
The second part of the series shows an interview with the former Russian Cultural Minister, now Special Envoy for International Cultural Cooperation and fairly known professor for theatre history, Mikhail Shvydkoy in Moscow. Shvydkoy outlines the foundations of cultural policy: freedom of artistic expression and the equal right to access culture. He discusses its complex idealistic as well as bureaucratic incarnation in form of diverting theatre institutions (federal, regional, municipal and private theatres) and theatre criticism as the other half of the executive force of cultural policy.
To watch this interview with English subtitles, please clic on the [cc] button and choose: "English"
To watch this interview with English subtitles, please clic on the [cc] button and choose: "English"
Since 2008, Ambassador Mikhail Shvydkoy has been Special Envoy for International Cultural Cooperation, a former Minister of Culture of the Russian Federation. He is a distinguished professor of foreign theatre history and a member of the Academy of Humanities. He is also a member of the Russian Writers Union, Union of Theatre Workers, and Union of Journalists. Major publications include the books Drama, Theatre, Life; Secrets of Lonely Actors; and Notes on Foreign Theatre of the Second Half of the Twentieth Century. He is the author of the Russian and Soviet theatre section in the World Theatre Encyclopedia published by Toronto University.
His lecture experience includes more than 20 years of teaching at GITIS (the state academy theatre) and at several universities throughout the United States, including Yale and Stanford. He also speaks in Europe on the subjects of theatre history of the Soviet Union, Russia, and European theatre.
Published on 17 June 2015
Discussion on independent Bulgarian theatre
Discussion in order to build a sustainable developement strategy of the independent sector in the Bulgarian theatre
12/12/2014
at the Red House- place for culture and debate in Sofia
Moderator: Boris Zafirov & Desislava Gavrilova
In the last few years the independent sector in the Bulgarian theatre started to develop faster and faster. Some of the leading organisations were transformed into platforms for establishing the independent theatre as a separate sector in the Bulgarian culture. Therefore the independent artists started to alter the overall climate by establishing new spaces and promote new aesthetics. The meeting at the Red House- place for culture and debate, was initiated by some of the most prominent cultural formations to search for a common solution on the cultural policy of the country by sharing personal experience. The main topics of the meeting are: attracting the public, sustainable development and financing private spaces.
With the participation of Vesselin Dimov (Free Theater Association), Jenia Petrova (Derida Dance Center), Neda Sokolovska (VOX POPULI Studio for documentary theater), Milko Iovchev (Replica Theatre), Stefania Georgieva (Atom Theatre), Arch. Radosveta Kirova (Transformers Association), Tsvetelina Yossifova (The Red House Centre for Culture and Debate Andrey Nikolov).
Published on 21 May 2015