near miss "Would be able to fold: in the Sophiensælen books will be presented that the stuff had a bestseller, but none have become
(Manuel Karasek, taz, 13 June 2009)
A simple idea: It is about five to ten titles from the field of fiction and nonfiction, which would have had this in the past five years it takes to finish in the top ten, but it mysteriously not make it to the top. It provides the program with a catchy title: "Could have folded." Five to six actors read carefully before finally selected passages, to waft sounds, noises, music scraps from the off. One of the actors explains what is in the works and who wrote it. Through a red light treadmill of viewers still pursuing the remaining information on the book (which Verlag, when). had to Sophiensælen on Wednesday the second of three evening programs premiere.
Had to go wrong. That would have been an alternative title for a concept that elements from the Chamber Theatre featuring mixes from literature television shows. For literary texts and essays aim in mind of the reader and the listener to emerge - the terms of the stage, they do not necessarily obey its own. But the group, which calls itself a "theater constellations," this tricky problem solved brilliantly. They cleverly squeezed the mass of text in the framework of a topic, the "economic miracle" was, and she playfully used the resulting dissipation potential.
There was the report of a Hamburg taxi driver on their grotesque hunting for small profit (Karen Duve's novel "Taxi"), original quotes Alfred Herrhausen for possible funding of a reunited Germany (from the biography of Andrew Platt House), scharlatanistisches talk of Londoners brokers ( "Cityboy" by Geraint Anderson): All these voices congealed into a concentrate from comparisons of different perspectives on the economic system. Healing and pain of the money. Hope, hubris, balance and collapse as a comparison. But the formatting of the issue was not the only successful trick of the evening.
fact that the actors all the time on a long table sat and talked into their microphones turned out to be not as the expression of imagination, but as the maximum utilization of reduced resources. So you had on stage just to see the overall picture of a conference at which nothing was negotiated as the illusion of controllability of the money. And not only that good text was quoted, but the individual Fragments almost a character in pattern or in a well-metered improvisations on left, revealed that this is a method from the spirit of collage.
So the group escapes to Simon Bauer, Tina Kemnitz, Jonas Knecht, Marc Lippa, Ulrich Schneider and Martin Wehrmann the case of a well-intentioned but questionable in the core teaching of literature, which with its theater-oriented handling of the substance. What you saw there was a separate piece - and no Bestsellers counselor. That was the beauty of it, that elusive element was clearly visible in the different literary conceptions of the production. Namely, the proximity of money and language. In other words, the intersection of affect ladenness in commerce and art, the ironic smile of hard cash. The fact that the actors did not comedy, but in their hermaphroditic roles of readers and been covered figure slipped - and obviously felt comfortable - it was clear indication that the concept worked. You can see the "economic miracle" program again in September.
