DER SCHRANK - KRITIKEN

Hannoversche Allgemeine Zeitung

Der Schrank der Pandora – choreografisches Theater begeistert auf dem Expo-Plaza

Dieser Schauspieler ist ein Kämpfer. Wie ein Boxer steigt er mutig in den Ring. Hinter ihm baut sich seine Anhängerschar auf in Kämpferpose, genau wie er. Eine Pfanne wird geschlagen, die erste Runde beginnt. Die Hiebe, die er seinem unsichtbaren Gegner versetzt, sind deut­lich zu hören. Doch meistens kassiert er: in der Pause wird ihm nicht nur der Schweiß abgetupft, sondern auch sein Auge bläulich-rot geschminkt. Ein Sport­reporter kommentiert unablässig, wie mi­serabel es für unseren Helden aussieht. Schließlich kehrt der geschlagene Boxer, zurück nach Hause. Zurück in seinen Eichenschrank.

Das Möbelstück ist der heimliche Star in dem choreografischen Theaterstück „Der Schrank", das acht Schauspielstudierende aus dem zweiten Studienjahr der Hochschule für Musik, Theater und Medien ah der Studiobühne auf der Ex­po-Plaza erarbeitet haben. In ganz unter­schiedlichen Szenen zeigen die Schau­spieler unter der Regie von Stephan Hintze, was ein Schrank alles sein kann: Er wird zum Versteck, zum Gepäckstück, zum Briefkasten. Oder er gibt den Rah­men einer Guckkastenbühne, auf der sich unbewusste Ängste Bahn brechen: Ein tollpatschiger Kellner findet sich auf ei­nem Büfetttisch wieder und fällt einer Horde kannibalistischer Barbaren zum Opfer. Mit der Nähe zu Pantomime und Stummfilm lassen die Schauspieler kurze Geschichten entstehen.

Die atmosphärische Musik, die Heiko Klotz für den Abend komponiert hat, hilft bei den schnellen, scheinbar mühelosen Szenenwechseln. Viel gewinnt die Insze­nierung auch durch die Kostüme (Aurelia Stegmaier, Hanna Peter), die mit Latzho­se und Filzsakko an eine verfremdete Version der Dreißiger-Jahre-Mode erin­nern. Zwei Monate lange haben die Stu­denten das Stück entwickelt und geprobt., Mit Erfolg, wie der lange Applaus zeigte.

Von Florian Balle

Sometimes It's Best To Take the Bogeyman Out of the Wardrobe

Finally, it is here; the last Performance of the ENCOUNTER festival. Will it be "Wow" or something nobody remembers even at today's final party? Wait for it.... it was.... WOW!

The name of the Performance, Wardrobe, is significant: it is the only thing on the stage and everything revolves around it. It becomes a symbol of dreams, wishes, memories, and desires, but also of nightmares. The Performance seems to be a Variation on Burton's mad situational skits together with the Adams family'sabsurdity.Thespectatorwitnesses several consecutive and silent (though there are some exceptions) slapstick scenes. One of the many successful scenes is the representation of the dream of one character in it the spectator finds himself atthe seashore(hidden behindthe door of the wardrobe). A fin appears in the sea, then a girl having fun in the waves.

There is a man who doesn't hesitate; he throws himself into the sea in order to rescue the drowning girl. The well-known music form Jaws is playing. The man is struggling in the waves trying to save her. Afterwards, he appears in front of a closed wardrobe with the expression: "Well, it just did not work out today."

The actors' appearances resemble characters from Tim Burton's Corpse Bride. This "ghostly" appearance is reinforced by beige costumes complemented with red elements here and there e.g. a musical instrument or a bow on clothing, and white make-up and striking eye make-up. The cast is brilliant in their acting. The Performance includes not only German, but also Italian, French, Russian and Arabic. Yet this is not all. In addition to their linguistic and musical talent, the students of Hannover University are also very good when it comes to movement. Precise and synchronized scenes where the whole Company is involved together with burlesque music create a very impressive image.

The viewer can sometimes miss a clue as to why exactly this or that is happening on the stage (e.g. during the "cute" copulation of a lion and a hare). However, such scenes are immediately given some kind of meaning, and it's not necessary to think about the meaning of the whole scene. As the saying goes, "save the best for last" and the German company really rose to the occasion.
Katefina Balikova

The Hare, the Lion and the Wardrobe

The last day and the last performance of the main program. When I have a look at the stage for the first time, it strikes me how perfectly the set corresponds with this year's design for the festival. It is really minimalistic. There is just a wardrobe on the stage. During the performance, in different scenes, the minimalism disappears. Still, the wardrobe remains the main thing perceived by the spectator.

In the beginning, the wardrobe is offered at auction. Whoever buys it gets not only the wardrobe, but also ghosts and their histories, fairy tales and dreams. Seven fourth grade students start the slapstick with surrealistic features after an inconspicuous beginning. Individual scenes alternated at a fast pace; there is no space for boredom. From the beginning to the end, the actors force the viewer to concentrate on their performance, and it works. The viewer is given an entertaining spectacle because the actors do not slow down for the whole hour.

During the performance not only German, but also Spanish, Romanian, Arabic, Polish, Russian and French are used. Speech is, however, unimportant in this performance; grotesque gestures, facial expressions, surrealisticimagesthatalternateat a regular pace are the main features. Everything is highlighted by elaborate costumes, where white is the main colour on dresses as well as on bodies, and by black eye makeup.

After the wardrobe is opened for the first time, spirits we "ordinary" humans can identify with enter into our world. They reveal to us their wishes, tell stories about their youth, adolescence, bizarre children's games (among others in disguise as a hare and a lion), and also about experience and lost opportunities. Their feelings and experiences are projected into the wardrobe, surrealistic images with elements of the fantastic. Everyone can find a parallel with his own life. The Hannover University students borrowed their comic style and elements of slapstick from Kafka or Cechov. Improvisation is also an important part of the performance, and thanks to that Wardrobe is a creative performance, not only on the part of the actors but also the viewers. It is pleasant to find out that quality theatre can be done without extensive and meaningless monologues.
Karolina Svitalkova