How to make a Pollesch evening? You take a handful of actors who can bring complicated twisted lyrics loose over a movie theme and good pop music and, above all, very much in a good mood. And a Set that defines the stage space more or less completely.
In this case, Nina put on stage fun has designed colorful costumes and a house on wheels, the roof can be opened – a replica of the first film Studio, Black Maria. It was opened in 1892 and stood on the site of the Edison Manufacturing Company in New Jersey. A number of comedies and a documentary piece created there is also a “fist” and do re-shoots of the Passion play of Oberammergau.
René Pollesch writes and stages is similar to that of the Pioneer film-makers. Connection errors are not a problem, but wanted to. In addition, the quintet of muses here, with great pleasure: But what exactly play Astrid Meyerfeldt, Katrin Wichmann, Franz Beil, Benjamin Lillie and Jeremy Mockridge in the DT chamber, defies logic. You talk in riddles, fight with the door and the rotary stage, rotate a Live movie with a giant video projection, are also made up time silent film dramatically or trudge merrily into the picture, Astrid Meyerfeldt-to-start – a free shot with a shotgun over the back pockets, full of Revolver.
if, as Pollesch zaps at night through the cinema history and his imagination in addition to charging with literature, here is F. Scott Fitzgerald’s “crack-up”. A hard, bitter reading, if you take it seriously. The little book describes the mental decay of a man, reported to be irreparable, but not immediately visible damage. The “emotional bankruptcy” leads to the collapse: the case of the alcoholic Fitzgerald to early death.
Routine and loose from the stage
But here you want to play only innocent, fuzzy theorizing about media and media theory, representation, and role, etc. still to hear from Pollesch-pieces of his period of study at the Institute for Applied theatre studies in Gießen. Even at the She-She-Pop performers, the Hessian seminars. Moritz Rinke, whose new piece “Westend” in December at the Deutsches Theater, was premiered, and has also studied in Gießen, he goes the other way.
Pollesch’s “Black Maria” takes for its means for quite long, an hour and fifty minutes. There is a lot of played with excitement and idle. Have spoken to the Pollesch-actors earlier, faster, or he goes to his stuff now just more relaxed? All well-versed, well rehearsed, without resistance.
A small text sample, taken out of context, but does nothing more. Because the connection is not so clear: “visibility and invisibility are never symmetrical. The privilege clearly lies with the invisibility. You would have to be as invisible as the white types. And if the visibility would be worth something, I would be really. But the point is rather: be invisible like white guys. Yes, and of course I also understand that visibility has to be that a position in favor of the visible-making in critical intention must be done in order for equality to enter, but the whole underlying asymmetry remains, unfortunately.“
This is a Text that makes on the paper of fear, but of Astrid Meyerfeldt spoken herunterperlt, as if it were a Smalltalk in the U-Bahn. The Casualness of the Bulky one Pollesch’s qualities. And so wooden, how these texts exclude, staged it. You never know if the actor is doing too much or too little. Anyway, they act provocatively private, like a cigarette break, before you rush into the next theory round. Always the no-fault happen.
In the case of René Pollesch is the theatre of the Boulevard. This is also due to the predictability of the “Visible”. The rotation stage will rotate the roof to be expanded and collapsed, opens the door to the film Studio and closes. However, when all of a sudden the guy comes to the Film, where you Potter around here – with a beautiful Animation of Luis Krawen, then it could be the opening credits, it goes a little more in the child Pollesch-Chaos. Conflicts there are, like, maintains harmony.
The Fans laugh and rejoice, is also a sign of the Boulevard. The good mood jumps over to the audience. And if now someone asks, what does it all mean? Maybe this: In a world of theatre that pretends to produce a permanent sense and criticism, remains Pollesch’s new play “Black Maria” again, a completely sense-free and a reliable brand. Pollesch is always Pollesch, the ingredients in the Background. It comes to nothing, no one comes to harm, and Most of it is already forgotten, if you pick up the coat in at the cloakroom.
More about
Premiere at the Deutsches Theater Boulevard in pajamas
Rüdiger Schaper
the Next performances are on December 9., 10., 15. and 16. February
