Idealism within the last stage | EUROtoday

Kaputte Gestalten. Abgründe, Drogen und andere Katastrophen, ein Lügengespinst, Mord. Die ganze Welt als schiefe Ebene. Wer nicht abstürzen will, klammert sich an das, was er hat. Wer oben ist, will oben bleiben. Und wer (oder was) schon unten ist, soll möglichst nicht ins Auge fallen. Daniela Löffner, Hausregisseurin am Staatsschauspiel Dresden, hat Gerhart Hauptmanns Sozialdrama „Die Ratten“ aus dem Jahr 1911 in eine neue Fassung gegossen. Ihr Theater geht über die tra­gischen Wahrheiten von damals makaber hinaus und weist auf noch schroffere Kontraste zwischen den Bühnenfiguren, aber auch auf die Distanz zwischen Bühne und heutiger Welt. Nicht als Abgrenzung, versteht sich, sondern um vom Theater aus Position zu beziehen und direkter ins Tagesgeschehen zu wirken.

Der Vorlage tut dieser Eingriff keinen Abbruch, sondern setzt Hauptmanns Am­bitionen fort. Aus der bitterbösen Geschichte um in einem Mietshaus einsortierte Menschenbilder unterschiedlichster Klassen und Herkunft wird Zeitgeschichte gespiegelt. Das auf zehn Figuren reduzierte Ensemble – fünf Frauen, fünf Männer – typisiert soziale Schichten von Gosse bis Glamour. Auf der Bühne werden aus diesen Typen lebendige Wesen, die in ein skurriles Mit- und Gegeneinander geworfen sind.

The younger Pauline, right here a tedious “pole woman”, feels this opposite in his personal physique. She could be very pregnant, however doesn’t need a little one. Henriette, cleansing woman on the attic of this home, the place theater man Harro Hassenreuter hoard his pool, gives assist. A “business” as a result of she had misplaced a child herself and may now not get pregnant. Around 300 euros [sic!] She takes Pauline’s little one to spend it as a son. Her husband Paul is touring so much as a employee and isn’t shocked by the supposed start. Both are completely satisfied. Until Pauline reclaims the kid.

Disasters have lengthy been inevitable on this something however honorable home. Nobody is undamaged. Henriette nonetheless suffers from the lack of her child and worries concerning the “acquired” little one. Her brother Bruno ended up within the gutter, crashed to the rats, turns into a assassin. Jannik Hinsch performs him as a brutal drinker. The younger neighboring daughter Selma, a fragile, no: a form that has lengthy been damaged. They have made medication very quickly however not carefree. With confused hair, fixed restlessness and bare higher physique, Sarah Schmidt provides seamstly expression.

Henriette and Paul, psychologically concise by Fanny Staffa and Oliver Simon, kind the center class on this atmosphere. He as sincere pores and skin, with the looks of therapeutic world till she leaves the burden of lies and struggling no different manner out than suicide. A fall based on the underside. This world is guarded by the bear -like caretaker Emil, whom Lukas Vogelsang stylizes a blanket within the physique mass as a result of sheer physique mass. Despite his inertia, it appears insurmountable. However, even the supposed superb spirit of hate reuters doesn’t arrive, which below the roof of theater props and a love tunnel Actrice guard (whereas his spouse is tied to mattress sick). In addition to the Franziska Winkler, which is exhibiting her topfulness, Hans-Werner Leubüpelt appears to be like depressing, however asserts himself with words-in distinction to the Bicycle Breaking of the Polish, for roaring Bruno, the delirium of drug addicts-well-stilted and withdrawn. Idealism within the last stage declares the nation’s sickness, goes on and much past that to maneuver Hauptmann’s theater into the native political depths of Dresden. Due to monetary difficulties (there’s neither within the metropolis nor within the nation), there are important cuts. In such moments, the stage play with the viewers sitting in entrance of it and attests within the doubled sport that no person might hear the merciless truths of the current. “Look away!” Yes, we keep in mind: Theater isn’t solely the place of delight, but additionally a spot of schooling and schooling.

The message is known and arrives within the corridor in addition to teasing native coloration of Pauline’s threatening suicide (Nihan Kirmanoğlu fully weird: “Ick Macht fall like Carolabrücke”). Hauptmann’s drama in as we speak’s Dresden could also be dramaturgically superfluous, however ensures pleasure within the corridor. The argument concerning the deeper that means of the theater in a world stuffed with lies is extra severe. As a pastors’ son, Erich, who was in love with Hassenreuter’s daughter Walburga, is drawn to the stage as a result of he’s burning for artwork and doesn’t see it as an elite luxurious. In his position, Jonas Holupirek combines comedy with shifting tragedy, whereas Leonie Hämer exudes seriousness mature as Walburga turning from the daddy.

This seriousness additionally serves the crooked, incessantly by rain showers, thunderstorm and waving fog (Claudia Kalinski) with everlasting threat of falling in addition to the timeless costumes (Daniela Selig) with plenty of area for naked pores and skin. Or as an example higher: for mere souls.