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between Margaret and Shulamith death

How young actors perform in Dresden the Nazis - and honor the victims

by Reinhard Heinrich

Well, thank God he is gone - the day of Auschwitz - and we have again a years rest from the horrors - think of the shopkeeper, to the "something" goes anyway.

This "something" was very well attended in its first (?) Last Performance in the theater house Rudi on 28 January 2011.

PLAYS SWEET DEATH is (was) a theatrical-musical project that you could go to Dresden in the period between the Yiddish Music and Theatre Festival and the Memorial to the Victims of National Socialism in seven performances. The premiere in the fall was well attended - and in January Derniere practically overflowing. Folding chairs recoup open sophisticated seated side stage, everything was done to reject visitors do not have to. Dream of all theater people.

The then still have to play on stage the nightmare. The oppressive atmosphere of the death camp. The killed and the killers. This is only in alienation and the poet Paul Celan has it (probably in 1944) started with his poem Death Fugue . And the writer, director and theater in general (of layer - to Rock Theater Dresden), Bernd Rumpf (born in '47) has brought out in 2010 for personal reasons from a piece on the stage.

The ensemble of actors and musicians (among which I count the singer Eleonora Gerisch and the dancer Sonia Castellanos) has done a great job. Engaged in physical and vocal and high use, they are the most absurd situations: people who practice already dead, although they still have so much to live. And how they reflect the threat that is realized at the end and practically.

The nameless in Paul Celan's poem offender is at Rump very important practical SS doctor Mengele , convincing and eerily played winningly by Martin Rosmanith, who gave in 2005 in the same theater in Cabaret the pattern-Nazi . And where you bought from that in 1933 some of his millions of ordinary people are running after. Just as credible, he was now in his dirty white lacquer coat, highly cultivated between Bach's fugues (herself a virtuoso at the piano playing) and Goethe Faust with the lethal injection rummaging around.

at all the hotel facilities designed by none other than the recently very famous 27-year-old art student and winner of the Hamburg Leinemann Foundation Marcel Walldorf and "built", it returns the dirty-strict framework for the unreal and yet happened. I had not previously known that the color white is so repulsive, so can act threatening. Here she does it.

apparently only as a "decoration" can Celan in his poem a "Margaret" occur only as the recipient of letters "from the racial front," where the SS man "ethnically clean" so dutiful. I know, it was then not yet. But today we must understand it so. Rump they can occur as a person - and it is a win. This wonder-eyes at the blond-braided fringe of hair, not quite understanding - and not wanting to fully understand: "The German woman" per se. One sheet, stretched by Faust's Gretchen almost to Eva Braun.

A little question - but not too much - very innocent and faithful German between smoking ovens. This provides compelling, downright gorgeous Anja Hauptmann in an elegant red dress - the only red on the stage, "what makes it bearable" - as a spectator was. Wall village level. Captain (as it will be called maybe later) finds the right balance in the swing between silly and snake -. And finds in the end even a little out of the dilemma of a small piece they liked to win (in the role) with the public, as she surprisingly says the SS man "... I shudder to you!" This distancing of course, has written Rump go there because the audience needs it. It must be spoken at least once. And as Gretchen's last words from Goethe's Faust are not too low.

A photographer of this horror comes in Celan not available. In Rumps adaptation already. And the actor Karl Weber buys If it is discontinued. It does have one in the camp. And he had all survive - and deal with it. Karl Weber, a veteran of rock theater, played his part with his usual panache. Like all the other people in virtually every performer occasionally had to slip.

One aspect still Sonya Castellanos who danced in their despair and hopelessness nor white is always a hope and aesthetics to create, as you see them rarely. And she was Shulamith, the beautiful mistress of the Song of Solomon - Jewish, exotic, attractive - and that is why obviously the subject of freezing interest on the part of evil (!). They wanted as Salome . Grace against morbidity.

With touching also played Maria Steinhagen several children - from God to the gypsy child. In the helplessness is no difference.

is the projection of the film via reciting original text Celan drama students of the Graz University of Art Show from time to time break. Celan with the not so ordinary fully familiar audience it leads back to the text and also excited to reflect about the origin of the Ver-leader, who surely even a cook - and SS doctors - with you had.

To do

would be that this performance does not disappear as easily from the scene. Video recordings documented although the staging, but the immediate liveliness of the event can not be replaced. And the issue is topical given the Abwiegler and draw a line puller.

Bernd Rump has written to deal with the generation of our parents and grandparents of the soul. The young actors in the roles can have strange, very strange (and long dead) people make an unusual experience. And the audience should have gained a new perspective on our history, our immediate ancestors, by historical periods.

would be conceivable to me a production of the play of the first Jewish Culture Days in Lübeck . To imagine, but probably not financially viable. Well, that was promoting it at all. Who says that actors have to eat? That was meant sarcastically.

And because art is a business grant any society and therefore society's business practices - and the business culture - of any society depends, we will this play - and in this lineup - look so easy again.

why is this so unusual theatrical criticism in detail.

And - because the impression was so deep.