The restart at the Residenz theater in Munich under Andreas Beck will not succeed without the stumble. Nevertheless, he makes Munich for the time being, to the theatre, Paradise.
“the Olympic Park in the Dark” by Thom Luz, a sonic journey through the house photo: Sandra Then
What is striking is, First, is the other mood. The Marstall is bright-lined, and is home to living plants, without the rough charm were a flute. In the cuvilliés theatre from Basel imported “Three Musketeers play” with the tears of laughter of the audience and the curtain mock-UPS of the Rococo interior. And in the Foyer of the new artistic Director apologizes personally for those who have to wait at the box office for too long: “forewarned is forearmed!”
The characters at the Start of Andreas Beck at the Bavarian state theater on Tackle and openness. The first stage in the main venue, the residence theatre was clean, contemporary and abstract. And from the winter garden on the first floor of 3,000 delicate in addition to lights silver leaves in the Max-Joseph-Platz.
With the Installation of “Silver Cloud” has left the two days after the season opening late light magician Ingo Maurer, the house is his legacy: a work of light art in perpetual motion. Classy, but not pompous. The fits to the new style. Because while the Resi under Martin Kusej aufstampfte often times supported the state, it launches with Beck-friendly and almost casual, even if very different casual as Matthias Lilienthal chamber games. While artistic Director of the theatre of the year 2019 distributed at the kick-off press conference of 2015 in the mandatory T-Shirt, pastries, invited Beck in a suit on a huge white Board. Such a tasteful and welcoming, also his theatre. Also internally.
So the years of Resi-actress Barbara Melzl leads the Ensemble by Thom Luz, the Royal stables and with friendly warnings about the pitfalls in the middle of the piece. The fog machine magician from Switzerland is next to Nora Schlocker and Julia Hölscher in-house Director at Beck and the new city has brought a Serenade. “The Olympic Park in the Dark” is a sonic journey through Munich’s history, similar to Charles Ives’ a lot of tiger’s composition “Central Park in the Dark layers” of 1906. In Ives’ Original as in the case of Luz, the finished product lasts for 8 minutes. The 90 minutes before the solidification of its ingredients and looks amazing spectacle musicians and musical actors to live with it, how you Fake dialogues between Karl Valentin and Oscar Maria Graf to produce wonderful a cappella singing, or the Olympic mountain climbing.
you can cobble together a huge art excess material and produce some magical moments, some idle. But at the end of the Evening has changed your own perception and a longing for a place of home, which tells the story of himself and at the same time, Restbet of our Dreams.
Ewald Palmetshofers “The Lost,” directed by Nora Schlocker is all of a sudden become the opening premiere because Simon Stone, We are his piece of development “here woke up” because of a film project had to move. But the evening holds up to the expectations. Stage design Irina Schicketanz has a thick white border around a white image on the Golden section, a wooden cross hangs. By the black slots put in between eleven actor presses on the stage and wait for a confirmation of your Being: “Hello? Someone’s listening to us? Can someone / who’s / who Is there?“
the evening begins. A woman wants for a while to get out of their obligations, and will be all the more sought cruel of them; a sisters-strife has the potential to be an inheritance dispute, a strange child is still strange, and a gas station for refuge. Is told all of this with these indeterminate Palmetshofer sets the delay to their constituents, or even lose, sometimes the Creator of the language and incredibly funny, and sometimes arts-and-crafts cranky.
Schlocker and your actors but do you rhythm so skillfully that they develop a Suction. To let you in on a naked stage, flesh and blood people emerge who suffer from it, that no God is watching you more and it is no longer in a world of pure immanence okay to be imperfect. The Boy once said to his mother: “I see how you fight / and always lose / and you don’t realize it yourself / so … / pitiful / and embarrassing, Clara.”
Andreas Beck goes with outspoken ensemble pieces at the Start, is quite an announcement. The nearly empty stage of the game time start showcase, in which hardly something can distract from the very curious-making actors. Many in the huge ensemble of 58 persons, among whom, however, guests are brought Beck from Basel, a dozen has a Munich-based past. And that hardly anyone plays in the foreground, on a different ensemble of understanding than under Kusej, which were practically on the spot Celebrities like Bibiana Beglau or Director favorites like Norman Hacker.
A story that embraces, perhaps, the collapse of the society
With three commissioned works under the first of four premieres of the New in addition to dedicated Text – and direction-hand-fonts – for deciphering a formation of bourgeois Background, it is at least helpful. So a Schimmelpfennig, you don’t understand so easily. But even if you understand how he is in “The crack in the world” voice loops from the world of art and society turns questions, not necessarily happy.
The Plot is simple: Two couples in a room come together. Verbally not, because Roland Schimmelpfennig’s penny Sentence fragments are often of the understanding, and the piece in the subtitle, “170 fragments of a failed entertainment” means. And social certainly do not. Art collector Tom is filthy rich. The young artist, Sophia and her boyfriend would be Jared like it, but on “ghetto”, from the stream a history of Blood, frogs, and biblical Plagues have brought, perhaps, is her art project, but perhaps also the collapse of the society.
The night has admirers. To me he seems like someone who puffs up to look bigger. The social issue acts in the Rococo treasure box cuvilliés theatre out of place. And to me, it is not clear whether Schimmelpfennig attitude of the chic young art Prekarier denouncing the Misery in your bladder, or whether Tilmann köhler’s production comes from the art bubble out. Craftsmanship and acting, this work is top. And while Jared one is throwing their glasses against the rotating wall, the Karoly Risz as a Symbol for the art or the Separation between the human, is the reverb loud. But he also sounds very artificial.
the danger of a high aesthetic theatre-theatre Herein, perhaps, lies. Even if it is so playful and content to be relevant, as here. But as long as Matthias moves Lilienthal on the other hand, be topic-focused, free scene open contrast, can you describe Munich confidently as a new theatre Paradise in which to find something for everyone should be. So until the end of the season. At the very least.
