tag:blogger.com,1999:blog-28607020112585880222024-02-20T17:43:06.054+01:00The Art of AgeingThe behind the scenes of a cross cultural, experimental, multilingual and documentary theatre project exploring "the Art of Ageing" in Europe's society!European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.comBlogger26125tag:blogger.com,1999:blog-2860702011258588022.post-75555262878555780002014-12-12T11:39:00.001+01:002014-12-12T11:52:49.214+01:00Eins, zwei, drei: children, parents, grandparents<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">by Daniela Firescu – Ramuri magazine, no.10/2014</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.artofageing.eu/performances/strawberry-orphans" target="_blank">Căpşunile şi orfanii/ Erdbeerwaisen</a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A project in collaboration - ʺMarin Sorescuʺ National Theatre Craiova, State Theater of Braunschweig and werkgruppe2</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Started within a program of the European Theatre Convention, ʺThe Art of Ageingʺ Strawberries and Orphans / Erdbeerwaisen collapses in the documentary theater, a space where artistic tools & techniques are used for and with different expectations - not to produce subtle mutations in the perception of the spectator, but to bring into debate a social problem while presenting their own version of the events. In the documentary theater, ʺdramaturgy of the realʺ (in the conceptualization of Carol Martin), art can be objective, and the actor/performer can be a person and not a character, a part in the classical acceptation of the term, applied in the dramatization procedure also applied in the dramatization performed by Julia Roesler. (...)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">There are stories that reveal the true state of a widespread phenomenon - the exodus of seasonal workers, generically called ʺstrawberry pickersʺ, and especially the side effects: family disintegration, extreme situations, childhood without parents, material compensation, suffering, sadness, dissimulation. ʺWe are a happy family.ʺ is the conclusion of the first episode. There is a pattern in almost all stories related, a monologue which introduces the family drama, with digressions/confessions, a public denudation develops gradually. (...)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The episode of the two brothers is played naturally by Sven Hönig and Oliver Simon, perhaps the most convincing piece performed by the two German actors, nothing is ʺlost in translationʺ. (...)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Interesting is the option for the two cases presented - the grandmothers as feminine protecting presences, a matriarchal view on the family proves to be only a circumstance solution: lamentations, mourning of the woman living in the countryside, confused, overwhelmed (Gina Călinoiu makes a very suggestive translation between grandmother and girl) or the aggressive grandmother who says bluntly, ʺI started to get to the limitʺ. In all this madness, words are not enough, the music is a more effective means of outpouring, but all the songs reflect concretely breaking the harmony, sung false, incongruous, cried, most evidently in the song I would give up on life and you, in the two interpretations: Oliver Simon, quietly, almost intimidated, Gina Călinoiu - hard-bitten, desperate. (...)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The theater of the real is an inexhaustible source in this topic of orphans, where concealment is generalized ʺeverything is/will be fineʺ. Parents wearing cheerful, optimistic masks, where an eye is crying and the other is laughing, because (although ignored in the show), the parents’ leave (when it’s not overly extended) has a positive dimension, there is a restoring of the individual dignity, of the possibility to support one’s family - an idea best grounded on Gabriela Baciu’s performance, a speech of defeat (...), a scene that resists and stands due to the force, the intuition of the interpretation, rather than due to the script, which in most episodes prefers to stay at a documentary level, but in this context, the purpose is not the aesthetic, but the impact / the ʺaesthetic shockʺ.</span></div>
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com2tag:blogger.com,1999:blog-2860702011258588022.post-87728181305327182682014-12-03T12:28:00.001+01:002015-05-12T11:47:30.587+02:00Finding ways to communicate - questionning the role of theatre<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">by Miriam Horwitz and Anne - Mareike Hess</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Reharsals for the production <a href="http://www.artofageing.eu/performances/Im_afraid_that_we_know_each_other_now" target="_blank"><span style="color: blue;"><i>Bojim se da sada poznajemo</i> (<i>Ich befürchte, jetzt kennen wir uns</i></span></a>) have started at the Gavella City Drama Theatre Zagreb in Croatia. The premiere will take place on January 16th. One day after the German version will be performed to the Croatian audience.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>M</b>: The piece is questioning language as, “The way” to communicate in the world. It is asking if we do </span><span style="font-family: Arial, Helvetica, sans-serif;">understand each other, if we are able to share.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Do you have different ways of communicating to each other in the society we are living in?</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Or did you find any examples you are developing?</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>AM</b>: Yes, I think the piece questions the role of spoken language for our communication and the concept of </span><span style="font-family: Arial, Helvetica, sans-serif;">language in itself. But it also questions the importance of memory and collective memory. Our interest in </span><span style="font-family: Arial, Helvetica, sans-serif;">this context is to open up the notion of communication, to take it beyond the spoken word and to involve </span><span style="font-family: Arial, Helvetica, sans-serif;">the whole body. We are searching for another way of speaking to each other. Through words and body we </span><span style="font-family: Arial, Helvetica, sans-serif;">want to challenge our understanding of each other and our preconceptions as well as open up to multiple </span><span style="font-family: Arial, Helvetica, sans-serif;">ways of interpretation.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>M</b>: The concept of communication through spoken language implies misunderstandings. This is an agreed </span><span style="font-family: Arial, Helvetica, sans-serif;">fact, which nevertheless leads to problems. We want to create a space, in which the performers as well as </span><span style="font-family: Arial, Helvetica, sans-serif;">the audience have the possibility to experience multiple meanings, in the pictures and the words and the </span><span style="font-family: Arial, Helvetica, sans-serif;">way the body is moving. That means to not put one definition on a situation, or a dialogue, but several. </span><span style="font-family: Arial, Helvetica, sans-serif;">It also means to put the audience in a position where they have to work, in this way they have to decide </span><span style="font-family: Arial, Helvetica, sans-serif;">things for themselves - if they want one meaning. Through this opening up of definitions, we want to create </span><span style="font-family: Arial, Helvetica, sans-serif;">a room in which the imagination and the understanding of the performer and the audience is constantly in </span><span style="font-family: Arial, Helvetica, sans-serif;">movement.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Does that mean to push everybody towards their insecurities?</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Into a state of being lost or at least shaken up?</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">What do you think is hidden in this moment of being shaked?</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Why do we search states which are in between, whose meaning is not defined by the performer or the </span><span style="font-family: Arial, Helvetica, sans-serif;">observer?</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>AM</b>: This piece, at its roots, is questioning the fundament of our communication and therefore also us, as </span><span style="font-family: Arial, Helvetica, sans-serif;">social beings. This approach is in a way so basic but that's exactly what makes it so difficult. We are </span><span style="font-family: Arial, Helvetica, sans-serif;">constantly organizing and categorizing the information we perceive with our senses in order to make sense </span><span style="font-family: Arial, Helvetica, sans-serif;">and in order to navigate through the world - and this also applies to watching a piece of theatre as an </span><span style="font-family: Arial, Helvetica, sans-serif;">audience or performing it as an actor. In this moment where this basic understanding is challenged or even </span><span style="font-family: Arial, Helvetica, sans-serif;">suspended, because maybe information becomes contradictory, an opening appears, a gap that we believe </span><span style="font-family: Arial, Helvetica, sans-serif;">holds the possibility for a different approach to the known. It is a moment for possible expansion of the </span><span style="font-family: Arial, Helvetica, sans-serif;">socially agreed. A moment where two well-known components can create something unexpected or even </span><span style="font-family: Arial, Helvetica, sans-serif;">unknown. And this is exactly the reason why we in our work like to provoke these moments of insecurity or </span><span style="font-family: Arial, Helvetica, sans-serif;">let's say ambiguity. The problem is of course that this new or unknown can not be predicted, because it is </span><span style="font-family: Arial, Helvetica, sans-serif;">nearly impossible to construct, but it is through the (physical) experience of these gaps that possible new </span><span style="font-family: Arial, Helvetica, sans-serif;">ways of thinking can be enabled.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I think it is important to know that with our work we are not suggesting or propagating just one vision for </span><span style="font-family: Arial, Helvetica, sans-serif;">society, rather we are introducing a first step in order to raise questions. and trying to multiply the visions or </span><span style="font-family: Arial, Helvetica, sans-serif;">even try different visions. Theatre is in our opinion the perfect media to do this, because it happens in the </span><span style="font-family: Arial, Helvetica, sans-serif;">moment and decisions are taken live in front of and with the audience.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>M</b>: That means to open up the working process. The moment of taking a decision or not taking it. It means </span><span style="font-family: Arial, Helvetica, sans-serif;">to put yourself as a performer in an insecurity, and show it on stage. To raise the question of how we will </span><span style="font-family: Arial, Helvetica, sans-serif;">spend the time together in the theatre room, in the black box. In relation to the text it has to be an </span><span style="font-family: Arial, Helvetica, sans-serif;">undecided open process, which is not ending. In that way to put the text in between you as a performer and </span><span style="font-family: Arial, Helvetica, sans-serif;">the audience, to let them raise their own questions. So it is a constant working process on both sides.</span></div>
European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-7492988446369906422014-11-24T17:04:00.005+01:002015-05-12T11:48:21.894+02:00Opening night in Berlin!<span style="font-family: Arial, Helvetica, sans-serif;"><i><b>Land der ersten Dinge</b></i> premiered on November 14th at the Deutsches Theater Berlin. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Exchanges and group pictures after the premiere!</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrBVr-CeBzymmNvHiLp26VaQecq4D88ey5mov-yKtTEMcsYRijedThNaRh4CUum8wOGnd-KAe6YLopf94kI-KSq7-p316_8tfmX8jblVujYZA-q74gXtoKgiAXQ6ljbny5WMFVURPoMkV1/s1600/IMG_7832web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrBVr-CeBzymmNvHiLp26VaQecq4D88ey5mov-yKtTEMcsYRijedThNaRh4CUum8wOGnd-KAe6YLopf94kI-KSq7-p316_8tfmX8jblVujYZA-q74gXtoKgiAXQ6ljbny5WMFVURPoMkV1/s320/IMG_7832web.jpg" width="320" /></a></div>
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<i><span style="font-family: Arial, Helvetica, sans-serif;">Gabriele Heinz and Emília Vášáryová, actresses</span></i></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The Slovak premiere will take place on November 27 at the Slovak National Theatre Bratislava.<span style="color: blue;"> <a href="http://www.artofageing.eu/performances/fen-fires" target="_blank">Click here for more information on the production</a></span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Links to the critics</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.nachtkritik.de/index.php?option=com_content&view=article&id=10237:2014-11-15-07-48-09&catid=38:die-nachtkritik&Itemid=40" target="_blank">Nachtkritik, by Simone Kaempf</a><br /><a href="http://www.taz.de/1/archiv/digitaz/artikel/?ressort=ku&dig=2014%2F11%2F17%2Fa0115&cHash=1e6c5d531024cb557280d7cb7e561c9e" target="_blank">Taz, by Barbara Behrendt</a></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://pagewizz.com/deutsches-theater-berlin-kritik-von-land-der-ersten-32371/" target="_blank">Pagewizz</a></span><br />
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<br />European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-39735889338989964132014-11-19T13:08:00.003+01:002015-05-12T11:49:24.655+02:00Opening Night in Heidelberg<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>The cultural exchange has been successful – artistic team got big applause!</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>An audience survey by Janina Beck, Intern at Theater und Orchester Heidelberg.</i></span></div>
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<u style="font-family: Arial, Helvetica, sans-serif;"><b>We’re ready to rock and roll: Sunday, 16 November 2014</b></u></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">While the first spectators are entering the theatre, taking off their soaked jackets and give them to the cloakroom attendant I try to figure out their <u>previous knowledge and expectations of „<a href="http://www.artofageing.eu/performances/Im_afraid_that_we_know_each_other_now" target="_blank"><span style="color: blue;">Ich befürchte, jetzt kennen wir uns</span></a>“</u>. I am interested in <u>what they think about such projects in line with the ongoing globalisation of the world.</u></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Anna Maria L. from Heidelberg replies: “<i>Such projects are more than important! They are a chance to get to know theatre esthetics from different countries and to gain new perspectives</i>.“</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Sophia R. from Rauenberg agrees: ”<i>I’m interested in the cultural exchange. I hope that contemporary drama brings more young people with different cultural background together and notably to go to the theatre. I hope we, as the audience, will notice this exchange</i>.“</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><u>18h55: The doors open</u></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The venue is wrapped in a spooky dark light with generated fog and the public is sitting dangerously close to the action. It’s so quiet you could hear a pin drop.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Dieter B. from Heidelberg: “<i>The stage design is very impressive. The audience is sitting vis-à-vis, that’s new for me. It’s like the searching and penetrating looks from the actors interfuse me</i>.“</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Annette P. from Heidelberg likes the stage very much: “</span><i style="font-family: Arial, Helvetica, sans-serif;">It’s unique that it’s rotatable and formed like a walkable ramp! I like the timber and the details very much.</i><span style="font-family: Arial, Helvetica, sans-serif;">“</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Credit: </span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 21.7000007629395px;">Annemone Taake</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">My first thought after the actors enter the stage is about their wondrous suits. It’s a mixture of fabulous and abstract designs.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">So much for the first impressions…</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">First the actors stand next to each other and move slowly and controlled but little by little they get more hectic and ecstatic.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Stephan from Frankfurt compliments: “<i>The fantastic physical-athletic performance is well done, chapeau!</i>“</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The audience is impressed by the <u>extraordinary way of movement and the imbrication of several theatrical methods.</u></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Marlene P.-S. from Trier agrees: “<i>This interlinking is new for me, but exciting!“</i></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>“A successful combination, the movements have extended the language.</i>“ (Peter Z., Frankfurt)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Erika M. from Heidelberg contradicts: “</span><i style="font-family: Arial, Helvetica, sans-serif;">I can’t understand the physical activity referring to the subject. Everything is like a bit too flurry, too loud and too disturbing</i><span style="font-family: Arial, Helvetica, sans-serif;">.“</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">“<i>The first spoken sentence hits! It shook me up, while before I was totally captured by and immersed in the movement.</i>” (Alexander W. from Heidelberg)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This first sentence of the play sets the course for the play: As Ivana leaves Filip it turns out that he can’t remember special moments, for example like their first love confession. Furthermore he’s also not ready to recapture this memory.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It is very interesting how the public thinks about <u>narrated time and narration time</u>:</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">“<i>I think there are some time jumps. I also believe that this story can happen anywhere, whether the people are young or old</i>.“ (Erika M., Heidelberg)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Marlene P.-S. from Trier describes it by a single word: “</span><i style="font-family: Arial, Helvetica, sans-serif;">Timeless</i><span style="font-family: Arial, Helvetica, sans-serif;">!“</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I also want to know <u>which actor the audience likes the most </u>- But they couldn't agree:</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">“<i><b>Lisa Förster</b> has the attitude of a ballerina</i>.“ / “<i>She shows so much strengths but looks really gracile</i>.“ / “<i>Ivana has an excellent pronunciation</i>.“</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br />“<i>I was so surprised about the big voice of the petite actress <b>Josepha Grünberg.</b>“ / “She has a lot of humor and knows how to entertain</i>.“</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">“<i>I’m impressed by <b>Fabian Oehl’s </b>strength and his body control</i>.“</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">“<i>I think </i></span><b><span style="font-family: Arial, Helvetica, sans-serif;"><i>Andreas Seifert’s </i></span></b><i style="font-family: Arial, Helvetica, sans-serif;">skill is based on his experience</i><span style="font-family: Arial, Helvetica, sans-serif;">.“ (Stephan, Frankfurt)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; text-align: center;"> Credit: </span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 21.7000007629395px; text-align: center;">Annemone Taake</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><u>Another question from the survey was: “Which scenes did you particularly like or dislike?“</u></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">"<i>I like a lot the quiet moments. In these scenes it’s easier for me to understand the narration</i>“. (Anna-Maria L., Heidelberg)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">“<i>I didn’t see the memories that this play was about</i>." (Erika M., Heidelberg)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">“<i>The emotional song by Ivana was really cool. Was it “Lithium” by Nirvana?!</i>" (Alexander W., Heidelberg)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"> “I<i> didn’t like the physical violence</i>.“ ( Susanne M., Heidelberg)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">“<i>I’m glad that no one had been injured!</i>” (Peter Z., Frankfurt)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><u>21h15</u>: A big applause for the actors and the team around Miriam Horwitz!</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><u>21h30:</u> While the public compliments the actors and the team, I’m handing out my questionnaire and interview some audience members.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">During my research I thought about the topic and the difficulty of the project, and that’s what I want to know now from the audience, too: </span><u style="font-family: Arial, Helvetica, sans-serif;">Has the production inspired you to think about something?“ / Are there unresolved questions?</u></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">“<i>I have been thinking about what it means to be an actor</i>.“ (Barbara K., Frankfurt)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">“<i>I cogitated about nihilism and war</i>.“ (Marlene P.-S., Trier)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">“<i>I asked myself all the time if someone would die</i>.“ (Alexander W., Heidelberg)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I talked with some ladies about maturing and how they define it, according to the motto of the project “The Art of Age!ng”:</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">“<i>Age means to me maturity</i>“ / “<i>Ageing means to me to evaluate memories</i>.“ / “A<i>geing is a wonderful experience</i>.“</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Credit: <span style="background-color: white; line-height: 21.7000007629395px;">Annemone Taake</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><u>To give a résumé</u></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The audience liked the high skilled actors, the special design of the stage and the richness of details. The experimental use of phisicality detached from direct meaning of the spoken wod presented a challenge to the viewer. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The rehearsals of the Croatian production will start next week in Zagreb. The audience from Heidelberg is already cuirous to see the result and wishes the Croatian team and Miriam Horwitz</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>“Good luck!“, „Viel Glück!“ and „Sve najbolje!“</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i><b>A few words about me</b></i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A few weeks ago, my ntership tutor explained to me what to do, I remembered she said:</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">“<i>Acquaint yourself with the production, work into it, it’s important to know what the audience is thinking“</i>. </span><span style="font-family: Arial, Helvetica, sans-serif;">At that point we wanted to figure out how my voluntary project would look like. Realizing a project is the task of each volunteer of the „Landesvereinigung kultureller Jugendbildung Baden-Württemberg“ so I, Janina Beck, a 19-year-old girl from a small town, 30 kilometer away from Heidelberg, working one year at press department, decided to do a survey with the audience of the opening night.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i><b>“To look behind the curtain“ or what I did in the last few weeks</b></i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">To prepare this survey, I attended the rehearsals and the press conference just a week ago.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">It was the first time for me to visit a rehearsal without audience, where only the team is present, and I was amazed by the atmosphere which was magical but also very professionnal. Right after that, I started to work on the topic and made this questionnaire, printed 100 copies and built a carboard box to receive the survey on the opening night. </span></div>
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-11284092419873700712014-11-12T18:16:00.000+01:002015-05-12T11:50:35.945+02:00What kind of stage director are you?<div style="text-align: justify;">
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"></span><span style="font-family: Arial, Helvetica, sans-serif; text-align: center;">A portrait of Miriam Horwitz, D</span><span style="font-family: Arial, Helvetica, sans-serif;">irector of the play "</span><a href="http://www.artofageing.eu/" style="font-family: Arial, Helvetica, sans-serif;" target="_blank">Ich befürchte, jetzt kennen wir uns</a>"<br />
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<span style="font-family: Arial, Helvetica, sans-serif;">A production by <a href="http://www.theaterheidelberg.de/spielplan/event/3253/Ich+bef%C3%BCrchte%2C+jetzt+kennen+wir+uns" target="_blank">Theater und Orchester Heidelberg</a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Es gefällt dir, Zuschauer,</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>nur Zuschauer anderer zu sein.</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Aber heute, Zuschauer,</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>bist du nicht nur das.</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">10:00 o’clock. Pia Dederichs, costume designer, still isn’t here.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">2 Minutes later she arrives. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Too late. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It’s the third time Pia is late, which means she has to cook for the whole team. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This is just one of Miriam Horwitz’s rules.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Then Miriam starts the daily warm-up. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">30 minutes of fitness, stretching and poweryoga. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">That’s one of her other rules. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">She loves discipline, hard work, physical strength and health.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This means that she demands a lot from her actors.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">But not only in a physical sense, also intellectually...</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A lot of time is allocated during the rehearsals for talking. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">About current themes, politics, and society, mostly referring and connected to the project of course. Even the actors give special presentations about chosen topics.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Although her way of leading is quite strict, she really wants to create a team around her. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Everybody’s opinion, suggestion or advice is welcome. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">She is really interested in everyone's impressions during rehearsals, even from the young students or interns (I have not seen any other director who includes everyone from the artistic team, no matter which position they have). </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">She creates a very familial atmosphere. It is not just some people working together for a few weeks; working with Miriam Horwitz means spending a period of your lifetime together. And it can be really fun. Her energy is impressive and contagious. She herself is a performer during the rehearsals from time to time, playing the king, the teacher, the mother or just being crazy. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">She wants artistic freedom, meaning time and liberty for the process, for creating, finding, forming, trying, failing, and building a team, which is 100% dedicated to the project, working towards an aim, which is never 100 % definite. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This way of working is not always easy when putting it in the context of a city theatre, with its hierarchical structure, its bureaucratic system and the lack of time.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It’s like the dramaturge Bernd Stegemann says: </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">“The director’s force crystallizes in the ability to turn the genuine character of the text, with his chosen propositions and together with the actors, to a new quality. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The greater this force is, the more successful the performance can get, or the more disastrous its failure“.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This is the risk more directors should take.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Miriam does.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">After all Miriam's work is essentially about finding a new language on stage.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">And it is not just the actors, the lighting technician or even me that have to learn it. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It’s important for the audience to understand her intention and to grasp a feeling for her artistic cosmos, because and especially this time, from the very first show of „Ich befürchte, jetzt wir kennen uns“ we will be on our own conducting it, having no cues, no scenic lighting – we will decide which light and when. We are free to make our own decisions. So are the actors. We have built a framework in which we can move. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Our strength is in our intuition and the trust we have in each other.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Miriam's work opens spaces, in which the audience has to fill with their interpretation, with their thoughts, associations, mental connections and imagination.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The audience has to be awake and aware, </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">just as Miriams actors/dancers/performers have to. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">And if the audience is willing to „work“ and not only wanting to be entertained, maybe they will find out what Miriam's work is about.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">„It’s the spectator, not life, that art really mirrors“. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">(Oscar Wilde)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">Juri Padel<br />Assistant Director</span></div>
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<span style="font-size: x-small;"><o:p><span style="font-family: Arial, Helvetica, sans-serif;"> </span></o:p><span style="font-family: Arial, Helvetica, sans-serif;">Miriam Horwitz, Credit: Pia </span><span style="background-color: white; line-height: 21.7000007629395px; text-align: start;"><span style="font-family: Arial, Helvetica, sans-serif;">Dederichs</span></span></span></div>
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-6933138611733910372014-11-06T15:51:00.000+01:002015-05-12T11:52:21.317+02:00Welcome Berlin!<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">Berlin, November 6 2014</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Miriam </span><span style="font-family: Arial, Helvetica, sans-serif;">Kičiňová takes a look back on the mutual work started with the Deutsches Theater Berlin one year ago, and the play "<a href="http://www.artofageing.eu/performances/fen-fires" target="_blank">Land der ersten Dinge</a>" (written by Nino Haratischwili). The premiere is next week on November 14. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It has been already some time before the start of the project „Bludičky“. But now the third part of the journey through the topic of ageing starts for me. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The first part of the trip started some time ago. It was a year ago when I met Nino Haratischwili, Christa Müller, Malin Nagel and Ulrich Beck for the first time and we started to talk about the topic, our work on the text together and the performances in Berlin and Bratislava.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It was really fun to work on this, but also quite hard to explore our common and very different history. We searched for an interesting approach. And after that Nino came up with her story. A nice story. A strong story. A sad story. A story of hope. A story that tells us that we can understand things better when we know each other’s origins. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">And after that, we discussed our visions a lot, our different readings of our history. We had deep talks about feelings that are based on our personal experiences, feelings that remain hidden in our subconsciousness because of historical experiences. Maybe this is why we are still going back to the past. We are still trying to understand, trying not to forget. Thanks to Bludičky, a very important part of my history was opened up to me, the history of my family, as well as that of lots of families in Slovakia. And it is nice that this was opened up to me by someone from abroad. Someone, who can see things in a more objective way. Thanks to Bludičky, we can also understand the history of the last 50 years of German families. Thank you, my German friends. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The second part of the trip took place in Bratislava and it was very strong. We started to rehearse the play Land der ersten Dinge/Bludičky. It was a deep, strong and also passionate meeting. The rehearsals were about questioning, searching and changing. We worked in such a nice atmosphere together and I cannot continue writing without saying thank you to the team : Brit, Karin, Niko, Peter and Thies. For me, it was so impressive to see the work of Gabi Heinz on stage. Of course I know the work of our actors, but seeing her work was something totally new for me and very inspiring for my future work. How is it possible, at the same time, to see a strong emotion on stage and acquire distance to it, always immediately, intensively, and so easily? </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A big part of our journey is already over. We really had fun and enjoyed it so much. Of course when comparing two different working system of two big theatre houses, we have to admit that it is not always easy to understand each other and that everyone has different expectations. But the whole experience was very enriching, even if that sounds cliché. But the journey is not over yet, the most important part is in front of us now. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">For me, it starts right now, as I just arrived in Berlin to join the team during rehearsals. We are still researching and trying to understand our history, and history in general, better. Therefore, welcome to Berlin! </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">To be continued....</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Miriam Kičiňová</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Dramaturge at the Slovak National Theatre, Bratislava</span></div>
European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-16999449286846702282014-11-04T16:43:00.002+01:002014-11-04T16:46:17.512+01:00Immersion into rehearsal<div style="text-align: justify;">
<span style="font-family: Tahoma, sans-serif;">Glimpse of a dialogue between the actors of the production "<a href="http://www.artofageing.eu/performances/Im_afraid_that_we_know_each_other_now" target="_blank">Ich befürchte, jetzt kennen wir uns</a>" (Theater und Orchester Heidelberg)</span></div>
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<span style="font-family: Tahoma, sans-serif;"><b>Andreas</b></span></div>
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<span style="font-family: Tahoma, sans-serif;">We have to be careful not to celebrate the sentences too much and by that give them just one meaning. That would be wrong.</span></div>
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<span style="font-family: Tahoma, sans-serif;"><b>Josepha</b></span></div>
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<span style="font-family: Tahoma, sans-serif;">You could compare that awareness of the language to the situation when you don't just produce a sound while singing but you listen to yourself develop that sound and you feel it and sing it out because you want to hear it.</span></div>
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<span style="font-family: Tahoma, sans-serif;"><b>Miriam</b></span></div>
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<span style="font-family: Tahoma, sans-serif;">One is exposed on stage and has to be careful not to fall off it. And while doing that, you have to say your lines and pay attention to how you say them and know what they mean and on top of that you have to play with the audience.</span></div>
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<span style="font-family: Tahoma, sans-serif;"><b>Fabian</b></span></div>
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<span style="font-family: Tahoma, sans-serif;">I am in a weird state right now. I can't say I have understood but I notice that there is something developing.</span></div>
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<span style="font-family: Tahoma, sans-serif;"><b>Lisa</b></span></div>
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<span style="font-family: Tahoma, sans-serif;">Sometimes emotions arise from the examination of the text while you say the words. For example, you start to cry because you notice that you ask "do you remember" three times and nothing happens.</span></div>
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<span style="font-family: Tahoma, sans-serif;">If an emotion arises from somewhere else but the lines, we can just let that emotion happen if it fits the scene. That makes us sincere.</span></div>
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<span style="font-family: Tahoma, sans-serif;"><b>Fabian</b></span></div>
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<span style="font-family: Tahoma, sans-serif;">Learn to be in the moment more than just on stage - what is staged, what is the moment?</span></div>
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<span style="font-family: Tahoma, sans-serif;"><b>Andreas</b></span></div>
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<span style="font-family: Tahoma, sans-serif;">For me it is about the effort of making the unvisible visible.</span></div>
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<span style="font-family: Tahoma, sans-serif;"><b>Lisa</b></span></div>
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<span style="font-family: Tahoma, sans-serif;">We miss each other in the attempt of communicating and sharing. Speech is breath is body.</span></div>
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<span style="font-family: Tahoma, sans-serif;">We are building a language.</span></div>
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<span style="font-family: Tahoma, sans-serif;">We are banging against walls, verbally and literally.</span></div>
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<span style="font-family: Tahoma, sans-serif;"><b>Josepha</b></span></div>
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<span style="font-family: Tahoma, sans-serif;">We need to move our utopia from an island to the land.</span></div>
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<span style="font-family: Tahoma, sans-serif;">An abstract utopia can't age.</span></div>
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<span style="font-family: Tahoma, sans-serif;">Utopical ideas are more similar to maps than to tales.</span></div>
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<span style="font-family: Tahoma, sans-serif;">Each figure has their own time.</span></div>
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<span style="font-family: Tahoma, sans-serif;">Our economy of gazing. </span></div>
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<span style="font-family: Tahoma, sans-serif;">Affective presences. </span></div>
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<span style="font-family: Tahoma, sans-serif;">Hug machine </span></div>
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<span style="font-family: Tahoma, sans-serif;">The ship has to go over the mountain.</span></div>
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<span style="font-family: Tahoma, sans-serif;">Do we have strange memories?</span></div>
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<span style="font-family: Tahoma, sans-serif;">We are not animals in herds but hunters who hunt in groups.</span></div>
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<span style="font-family: Tahoma, sans-serif;">Can the mountain grow so that the audience sits inside of it?</span></div>
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<span style="font-family: Tahoma, sans-serif;">We are eating "snowballs" and "icecream", sticking ourselves to one another, we are melting and desolving, between all of that we are killing ourselves and afterwards our remains stood on the roots of the old maple tree that had been burried deep for a long time.</span></div>
European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-80057102843982329612014-10-28T12:18:00.005+01:002015-05-12T11:53:03.434+02:00The German press talks about "Erdbeerwaisen"<span style="font-family: Arial, Helvetica, sans-serif;">The premiere of the production <span style="color: #073763;">"</span><a href="http://www.artofageing.eu/performances/strawberry-orphans" target="_blank"><span style="color: blue;">Erdbeerwaisen</span></a><span style="color: #073763;">"</span> (Strawberry Orphans / Capsunile si Orfanii) took place last Thursday October 23 at the Staatstheater Braunschweig. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Here is a selection of articles, tv and radio links:</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Nachtkritik</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Geld oder Kinder?</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">By Jan Fischer</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">>> <a href="http://www.nachtkritik.de/index.php?option=com_content&view=article&id=10149:2014-10-24-06-03-11&catid=38:die-nachtkritik&Itemid=40" target="_blank">Click here to read</a></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Norddeutscher Rundfunk</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><b>"Erdbeerwaisen" - Eine verlassene Generation</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">>> <a href="http://www.ndr.de/kultur/kunst/niedersachsen/Erdbeerwaisen-Eine-verlassene-Generation,erdbeerwaisen100.html" target="_blank">Click here to watch and listen</a></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Deutschland radio</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><b>"Erdbeerwaisen" - ein Theaterstück in Braunschweig über EU-Waisen in Rumänien</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">>> </span><a href="http://www.deutschlandradio.de/text-und-audio-suche.287.de.html?search%5Bsubmit%5D=1&search%5Bword%5D=erdbeerwaisen" style="font-family: Arial, Helvetica, sans-serif;" target="_blank">Click here to listen</a><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Braunschweiger Zeitung</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><b>"Erdbeerwaisen" weinen nicht</b><br />By Florian Amold</span><br />
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-1395170488792344332014-10-21T11:05:00.000+02:002014-10-21T11:07:27.327+02:00Translating = Creating<b style="font-family: Arial, Helvetica, sans-serif; text-align: justify;">Some thoughts on Ivor Martinic’s play “Bojim se da se sada poznajemo” (“I’m afraid we know each other now”)</b><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;">by Renata Britvec, translator of the play</span><span style="font-family: Arial, Helvetica, sans-serif;"> from Croatian into German</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">„A language is always a whole world view”, my professor of philosophy used to say. What seems so obvious opened up a new perspective to me and raised a lot of questions. During my studies, I started to ask myself about my native language from another, broader point of view and I also started questioning how my mother tongue affected the way I express myself in German, or any other language I speak. Back then I realized how strongly my mother tongue determines my personality and how the simple fact that I am bilingual causes many misunderstandings, and that there is always the imagery, the fierceness, the head-on brutality, the meekness, the sense of humor, and the meandering ways to tell stories of my home countries which always seeps through and interferes with my expression and way of speaking.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">I love my language, I love the way it creates and destroys images. I also love that you can be obvious and subtle at the same time. But how can you translate this language without losing all the richness? I realized I wanted to dedicate myself to these questions, and not only on a theoretical level. I wanted to contribute to creating an understanding for the cultures of the Ex YU countries. So I started translating, short texts at first, then longer ones, from different genres, and as my way has always led me to the theater somehow, I ended up being a translator of dramatic texts.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">When Jürgen Popig of Theater and Orchester Heidelberg asked me to translate Ivor Martinić’s new play for the project The Art of Ageing, I was honored and excited. I had read Martinić’s work before and his subtle writing and his ability to create a strong narrative in dramatic texts impressed me a lot.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">In Martinić’s new play “Bojim se da se sada poznajemo” (“I’m afraid we know each other now”) Ivana leaves Filip for his increasing inability to create a common narrative and therefore (a personal) history. He cannot remember important moments of their relationship, like the first time she told him she loved him, nor is he willing to remember or to recreate those moments for the sake of her – and his! - wellbeing. Even when she breaks up with him, he refuses to react appropriately. Instead of saying something valuable, he just recites what his mother told him once. Ivana cannot accept his reaction and comes back and back again to demand a real and just ending, an ending she will be able to retell as part of her personal history. As soon as they aware of the break-up, Filip’s neighbor Andreas and Filip’s friend Natalija come to support him. While Andreas is trying to persuade Filip to come Ivana’s way and find a nice ending, Natalija is holding on to her conviction that Ivana does not deserve a man like Filip anyway. The two of them probably serve as hidden undercurrents of Filip’s persona. When these antagonists eventually knock each other out and Filip is alone again, he subsequently finds a way to create the story of his relationship and to make peace with himself, with Ivana, and with their failed relationship. “I’m afraid we know each other now” is a subtle play about the human need to locate oneself in history, and moreover, to create a personal narrative, where memory, emotion and what one desires supplement the truth.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">As I have stated before, Ivana leaves Filip because of his inability to create a common narrative, which means specifically that he is unable to express his emotions through language: He himself explains at a later point of the play that he always felt the most urgent need to tell her he loved her while she was asleep, and as soon as she would wake up, everything was gone. When she tells him the relationship is over, he cannot find words to express his feelings and instead quotes his mother, who told him about the best way to please a woman. He shifts his emotion into somebody else’s words, and he shifts the actual problem into something easier, more materialistic and “real”. But in the course of the play and in the course of his involvement with Andreas and Natalija, i.e. with himself, he realizes how important it would have been and still is to communicate. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">More important, he realizes he needs to actively translate his innermost feelings into words, and that he needs to talk, to narrate. He may be right with his assumption that words can never describe appropriately what we actually experience and/or feel: “How strangely do we diminish a thing as soon as we try to express it in words.”, says Maurice Maeterlinck (we’ve all been sceptics since the beginning of the 20th century, but …).</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">But the sole act of speaking is always a translation of what we feel, of something indescribable into words other people can share and understand. In the end Filip is able to open up and create a story by which he is able to express himself and his love for Ivana subsequently, and by doing so, he creates an end to the relationship he will be able to remember, and Ivana will be able to remember, too. By remembering and retelling their story, they will know it has been there, it has been true, and now it is over, finally.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Ivor Martinić created the play during and after the workshop with artists of Theater and Orchester Heidelberg and Gavella Theater Zagreb. With this play inspired by artists of at least two different nations, he beautifully demonstrates the human need for words, language, narration, memory and therefore history. But above all, he depicts the act of struggling for words which will translate what we feel into something we can grasp, we can understand, we can share and make peace with.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; text-align: justify;">Renata Britvec, October 2014</span>European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com1tag:blogger.com,1999:blog-2860702011258588022.post-89515797109041527972014-10-16T15:26:00.003+02:002015-05-12T11:53:52.730+02:00Rehearsals in Heidelberg - Impressions by Ivor Martinic<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">Rehearsals of the performance "Ich befürchte, jetzt kennen wir uns" have started in Heidelberg on October 7. Photos by Ivor Martinic. </span><br />
<a href="http://www.artofageing.eu/performances/Im_afraid_that_we_know_each_other_now" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;">Click here for more information about the play</span></a>European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-44439318277888605082014-10-14T11:15:00.000+02:002015-05-12T11:55:06.633+02:00The Strawberry Picker’s Heritage – Erdbeerwaisen<div style="text-align: justify;">
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">The German language is like Lego pieces; the words can
interlock with each other, reaching incredible lengths. They adopt each other
to form new words, new subtle or specific meanings. In that regard, it is a
rather poetical language, even though it may sound abrupt. In Romanian, the
title of the show was Căpşunile şi orfanii (Strawberry Orphans), which in
German was translated as Erdbeerwaisen, almost </span><span lang="EN-US">identical to its English title – Strawberry
Orphans; this translation didn’t suggest that those children belonged to
strawberries and became orphans as a result of their absence, but rather meant
that they were made orphans by strawberries. The English language is more
flexible than Romanian too, because it even has a word for making, turning
someone into an orphan: The children were orphaned by strawberries.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #3d85c6;">(...) "</span><span lang="EN-US" style="color: #3d85c6;">we have long become accustomed to the thought that
people go away to Spain, Italy, England, Greece, Germany, and many other
countries where this very complicated economy seems to be more stable.</span><span lang="EN-US" style="background: white; color: #3d85c6;">" (...)</span><span lang="EN-US"><o:p></o:p></span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">When I was little, I was under the impression that the
world can only evolve and constantly improve, albeit at a slower pace. It only
seemed natural, perhaps thanks to the stories I read, which always ended well
for everyone who was good. I honestly believed that politicians learn from past
mistakes and will automatically avoid repeating history, and I was convinced
that economists can only improve the methods meant to control the economy. I
have no better understanding of these things now, but at least I understand
that everything is much, much too complicated and that people don’t always
know, or do what’s best. Nor do Romanians know whether it’s always best to go
and work in other countries; but when it seems to be the only option, and many
others around you are doing it, you don’t waste time in securing your chance.
Thus, we have long become accustomed to the thought that people go away to
Spain, Italy, England, Greece, Germany, and many other countries where this
very complicated economy seems to be more stable. And we’re used to hearing
stories about those who left – some better, some worse. We, from the younger
generations, have friends whose parents seem to have always been away, friends
who come to aspire to the same goal because it’s the best success example
they’ve ever had. </span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">It is also commonly known, although a generalization,
that the orphans whose parents have left either miss a lot of school, or barely
learn anything. They also say that all Roma people went abroad to steal or beg.
Lots of other stereotypes circulate among us, oral and from the media; both the
foreign press and the Romanian press have magnified these stereotypes for
ratings’ sake, and we’ve assumed them without even realizing. The subject of
the strawberry pickers has been disputed so much that we’ve somehow forgotten
to pay attention to it; which is why a performance like Strawberry Orphans
turns into a fundamental reflection, because it restores an objective
perspective on the situation that has been happening in Romania for such a long
time. The show, created within “The Art of Ageing” project, brought together
four actors: two from Romania, from the National Theatre “Marin Sorescu” of
Craiova, and two from Germany, from Staatstheater Braunschweig of the
homonymous city. It was also supported by Goethe-Institut Bucharest, but by
WorldVision and Save the Children too, which helped the artists’ team on their
research work; through these two organizations, they were able to communicate
with children, grandparents and families who live the reality of having
relatives that work abroad. Their stories were dramatized in the performance I
saw on the 28th of September in Craiova. Actors Gina Călinoiu, Gabriela Baciu,
Sven Hönig and Oliver Simon animated these characters who live among us, and
who were so real on stage that they must have brought tears to spectators’ eyes
throughout the performance. On stage with the actors was musician Kim Efert,
who provided the live soundtrack created with an electric guitar, synthesizers,
a drum brush, and rhythmic tapping on the enormous cardboard box that was, in
turn, a closet, the actors’ wardrobe kit, a children’s playground, or any other
necessary furniture piece. </span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;">The actors took their part in the research work; back
in Germany, all four of them spent a day on a strawberry field, picking full
baskets of this significant fruit, probably reflecting on how difficult it is
to perform a task like this, day after day. The show’s director, Julia Roesler,
together with other members of werkgruppe2, interviewed and had discussions
with approximately 30 families in the Craiova area; the stories from the show
are their stories, which the team tried to transpose in all their variety. The
main subject here are the children and what happens to them when they cannot
grow up next to their parents. Sven Hönig, an actor who is rather well-known on
the scene of German cinematography as well, and who best managed to sink into
the minds and worlds of the children he interpreted, concluded that for these
so-called orphans, communication becomes the most difficult thing to do.
Children like these don’t receive the same attention, or the same solid
structure that would allow them to grow and evolve normally, with normal
children’s thoughts. If Hönig was the most credible child, Gina Călinoiu was
the most sensible one; her interpretation, oftentimes incredibly touching,
demonstrated a level of empathy we should expect from all the citizens of this
Europe we want to live in.<o:p></o:p></span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">The show has its moments of original humor as well,
but it works to further highlight the true bitterness of reality, like the
scene when the cardboard box becomes an outhouse, and an interviewer’s voice
asks: was this your toilet? The reply comes: it still is! On stage, we saw
children who wished their parents brought them some doll when they came back,
but more than anything, that they simply returned; children who tried to raise
their younger brothers and sisters almost on their own, children who were
apparently rejoicing in the liberty created by their parents’ absence,
grotesquely matured children, sad children, but grandparents as well, who
couldn’t enjoy their retirement, worried when their children stopped calling,
or fearing that someday, the money might stop arriving. Similar situations from
the Roma communities were interpreted, communities where the same children who
rarely have access to a real education and equal rights – due to certain
traditions, but also because of a less than tolerant society which is
everything but equipped for such a responsibility –, are also deprived of the
presence of parents who would at least love them. In order to have a real
awareness impact, at the end of every show the actors are available for
discussions and questions; the more we talk about this subject, the more real
it will become, and we will come closer to finding a possible solution, or at
least closer to eliminating a generalizing mentality that tends to discriminate
against the seasonal immigrants from the get-go in the countries where they
appear, but their children as well, whose poor start in life hinders a normal
evolution in society. The performance will also be played in other Romanian
cities like Sibiu, Brașov and Bucharest, thereupon following a similar route
through Germany.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">The situation is clearly overwhelming for all those
involved, perhaps even more so for those who only know of these cases, like the
Romanians, or for those who meet these cases in their own countries, like the
Germans, the Italians, the Spanish, the French and so on. And yet we’re the
ones who might be able to help, we whose families are at least together; the
people who talked to the artists from werkgruppe2 often receive aid from the
NGOs involved in this project, and which are mostly interested in providing the
children with school supplies, making sure they can continue with their studies
even when life at home is difficult. Projects like Strawberry Orphans are
necessary, because they remind us to not become used to a tough situation, even
if it’s been going on for such a long time that we barely notice it anymore.
Habit leads to negligence, to forgetfulness, to indifference; and the theatre
must take on a social role as well, like any of the arts – something that the
collaborating artists have fully managed with this show. A show which, if
analyzed from a purely aesthetic point of view, is well put together, played by
discerning and skilled actors, and carrying that quality of keeping spectators
on the edge of their seats, only this time being uncomfortable as well, because
the theme itself brought to mind conflicting thoughts and emotions; a modern
show directed with precision and minimal use of raw matter, but generous in
subjects, range of emotions, and interpretation.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Lia
Boangiu, </span><span style="font-family: Arial, Helvetica, sans-serif;">Essayist & translator</span><span style="font-size: 13.5pt;"><o:p></o:p></span></div>
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-64249442360890723242014-10-10T16:00:00.000+02:002015-05-12T11:55:49.273+02:00Strawberry Orphans – A Touching Reality<div align="center" class="MsoNormal" style="text-align: justify; text-indent: 37.7952766418457px;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 24px;">With Strawberry Orphans, being a documentary theatre play, you feel the desire to engage in a dialogue with the characters. Because you perceive the vein of the immediate reality and it is from there that the predisposition for involvement comes. Incidentally, the show even asks that implicitly and explicitly. It requires an attitude. Julia Roesler, Silke Merzhäuser, Gina Călinoiu have documented in details, working with, unfortunately, the few non-governmental organizations concerned with the fate of children who, in one form or another, are disadvantaged. Silke Merzhäuser and Axel Preuß, built, based on documentation, a well-structured dramatic, homogeneous and dense text, attractive in all respects. The subject is a current one and it demands our attention, it is challenging for debate. The topic of the play deals only with the consequences and not with the causes. How did we come to the situation of this mass labor migration? A grandmother in the story could have conjured the image of mornings before 1989, when waves of people headed for various industrial areas that provided jobs for almost everyone. And most of them were at that time highly skilled labor, whereas now it became a migration to low-skilled jobs. We could even push the question further and ask why are there so many jobs available? Without ignoring the major issue of the performance, i.e. the transfer of civilization, beyond the material quantification, a positive aspect could be added to the discussion, when parents arriving in the West acquire skills and discover modern attitudes and approaches which gradually impact in the country of origin.</span></span></div>
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<span style="line-height: 24px;"><span style="font-family: Arial, Helvetica, sans-serif;">Until now, this topic was barely highlighted in studies or analyses, but now this performance succeeded in addressing the topic to everyone, children and adults. The text skillfully combines stories collected from interviews with a minimum of fiction to ensure a connection and a flow that keeps the audience's attention. Being a show that brings together two cultures, it had to deal with languages. The combination of the two languages was so natural that, at no moment, the homogeneity suffered. Here, of course, the major asset were the two German actors who spoke many lines in Romanian, often with an effortless accent. Naturally, in Germany the proportion will change, Romanian becoming an element of ambience and particularity. </span></span></div>
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<span style="line-height: 24px;"><span style="font-family: Arial, Helvetica, sans-serif;">Speaking of homogeneity, I would like to emphasize the perfect harmony between the German actors, Sven Hönig, Oliver Simon and the actresses from Romania, Gina Călinoiu and Gabriela Baciu. They form a team and complete each other delightfully. When the actresses emphasize the emotional side of the story, their partners offer a playful counterpoint. Their game is overflowing with inventiveness and they successfully embody children. Naughty boys, especially in a cavalcade of gestures and gags, but also with sensitive episodes. Oliver Simon has a very successful monologue as a girl and Sven Hönig goes through the full range of expressions from burlesque to tragic. Julia Roesler uses the space well, with minimal decor but successfully employed throughout the show. That huge cardboard box becomes by turns a trunk or a closet, a long table or a hiding place for children's play, a stage for Gina Călinoiu's performance, who gives an amazing performance, constantly relying on a direct relationship with the audience. That murmured chorus becomes obsessional, "I would give my life and me", especially in Kim Efert's musical adaptation, who as a discreet presence on stage, like a magician, accompanying the story with original music, played on all kind of instruments, simple or more sophisticated, joining the actors, producing melodious sounds even with the carboard box. Perhaps an accoustic guitar instead of an electric one would have induced even more emotion; perhaps choosing electronics is to remain closer to the tone of this epoch.</span></span></div>
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<span style="line-height: 24px;"><span style="font-family: Arial, Helvetica, sans-serif;">The five of them, together with Kim, of course, are the key to this show that deserves to be reviewed, especially since it will also be played in Germany where, I imagine, Gabriela Baciu will bring tears of emotion in the audience.</span></span></div>
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<span style="line-height: 24px;"><span style="font-family: Arial, Helvetica, sans-serif;">In these stories emotion is palpable. At one point in the story the children confess they want, besides the presence of their parents, of course, a telephone. One of the smart ones existing today. This, in fact, seems to be the unanimous desire of this generation. For these so-called 'orphans', communication, especially with their parents working far away, is what they desire most. But this communication is not enough, technology being powerless to provide what a child feels, what any of us feels: the need for comfort, for touch.</span></span></div>
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<span lang="RO"><span style="font-family: Arial, Helvetica, sans-serif;">Marius Dobrin</span><o:p></o:p></span></div>
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-53446033428015546772014-10-08T17:50:00.001+02:002014-10-08T17:56:06.904+02:00Rehearsals have started in Heidelberg!<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-size: 12pt; line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">An E-Mail-Correspondence between
the director Miriam Horwitz and the dramaturge Jürgen Popig about Ivor
Marinić's play ‘Ich befürchte, jetzt kennen wir uns’ / ‘Bojim se da se sada
poznajemo’<o:p></o:p></span></span></div>
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<i><span lang="EN-US" style="font-size: 12pt; line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">The play is based on the results of a workshop with the Croatian and the
German cast who will perform the piece in Heidelberg and in Zagreb.<o:p></o:p></span></span></i></div>
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<b style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">September 20<sup>th</sup></b><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">Dear Jürgen,</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">I am asking myself what kind of importance the city has for the characters in
the play. It seems to me a place where they can orientate themselves, find ways
to go. As soon as they can't find themselves in it anymore, they can't survive.
It seems to me a mirror of time as well as of themselves.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">All the best,</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">Miriam.</span></div>
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<o:p></o:p></span></span>
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<b style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">October 3</b><sup style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;"><b>rd</b></sup><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">Dear Miriam,</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">I also assume the city supports the characters. Here they can find the
localisation that is disappearing in their existence. In our text the city is
always presented in a positive way: The city is safe, the city is comfortable,
that's why I love to live here, etc... At the same time this city turns out to
be an imaginary place: it combines elements of Heidelberg as well as elements
of Zagreb. A kind of an utopian construction of a European city in which the
characters can locate themselves. In the Heidelberg production the city will be
called Zagreb, in Zagreb it will be called Heidelberg. Conflict arises when the
city loses its reliance: in Mirogoj cemetery the inscription of the memorial
for the fallen Croatian soldiers in the first World War has been extinguished
so that you can mistake it for a partisan memorial now. I am anxious to know
what equivalent in Heidelberg history our author will find.</span></div>
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<span lang="EN-US" style="font-size: 12pt; line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 12pt; line-height: 115%;">Second question: The play is part of the European theatre project „The Art of
Ageing“. Where do you see the connection? In my opinion the play is about
locating oneself in history. The memories of the characters change in the course
of time until they cannot be sure any longer what really happened. At the same
time they fear they cannot exist without history. The text says nothing about
the age of the characters. I could imagine that ten years are passing between each
scene. How do you think about this?</span></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">Best,</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">Jürgen.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b style="font-size: 12pt; line-height: 115%;">October 4<sup>th</sup></b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">Dear Jürgen,</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">that's an important question which I hope we can answer. How much time passes
between the scenes? The actors in Zagreb said at first they felt the whole
action would take place in a few hours, later they thought it would cover many
years. Time passes and our counting of it can only be a kind of guiding rule.
What does it mean to feel young or to be tired of life? How can you say, you
have lived your life, you have experienced everything you could, and now it's
over. For me it is exciting that not only Andreas – our ‘older’ generation –
feels like this, but also Josepha (Natalija) has a reply that describes exactly
that feeling. The question is, what do I have to experience in life? How many
things do I have to have seen, how many questions do I have to have asked? When
are we old? Is Filip young because he denies life, denies memory? He lives just
in the moment, he creates his own life, not reacting to anything that lies in
the past, he becomes timeless. Through that he is no longer available for the
others and at the same time he is immortal. When I don't know how old I am, I
am not as old as I am, am I not? The years and hours and moments we are
counting are just a kind of education – I say it’s summer even if it is raining
and hailing, because it is June. I believe that our history depends on
ourselves. We use language for orientation, to share and communicate with each
other, to become of one voice. By doing so, values have changed. At an age of
65 you are going to be a pensioner, whether you are tired of life at 30 already
or even not before 80. This Orientation makes understanding possible but doesn't
permit deviation. This is what the play points at: deviation.</span></div>
<span lang="DE" style="font-family: Arial, Helvetica, sans-serif; font-size: 9pt; line-height: 115%; text-align: justify;"><br />„Man kann die Dinge nicht
aufschreiben. Und wenn man sie aufschreibt, sind sie doch immer anders. </span><span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: 9pt; line-height: 115%; text-align: justify;">Er ist immer ein anderer."</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%; text-align: justify;"><br />Same as time. Perception of
time – it is always deviating.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%; text-align: justify;">Regards,</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%; text-align: justify;">Miriam.</span><br />
<span lang="EN-US" style="font-size: 12pt; line-height: 115%;">
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<b style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">October 6<sup>th</sup></b><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">Dear Miriam,</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">Let’s develop this further! Another question: You are putting the play on
stage, first with a German and afterwards with a Croatian cast. I find that
very unusual! Do you have different concepts and/or expectations for the two
productions? </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 115%;">Best</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt;">Jürgen.</span></div>
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</span></span></span><span lang="EN-US" style="font-size: 12pt; line-height: 115%; text-indent: -18pt;"><span style="font-family: Arial, Helvetica, sans-serif;">to be
continued - </span></span></div>
European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com1tag:blogger.com,1999:blog-2860702011258588022.post-91500945367304763322014-10-07T12:55:00.003+02:002015-05-12T12:00:04.584+02:00Premiere in Karlsruhe "The Clock is ticking"<div class="MsoPlainText" style="text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>THE CHOIR AS A DOUBLE BRIDGE</b></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The choir of Banat Suebians from Karlsruhe consists of women and men who all have emigrated from Romania to the Karlsruhe area in the past 30 years. All of them are retired and full of memories about their old home and their new. Here they rehearse with choir leader Hannelore Slavik the traditional Banat song: "We will not meet again as young as today. So let us sit down and sing the old songs..."</span></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">GETTING READY FOR 9 ROLES IN 60 MINUTES</span></b><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">They have to be prepared to play a maximum of 5 out of 9 roles. Peca Stefan has conceived a play with 9 scenes from which the audience chooses 5 each night.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The costume and wig changes have to happen quickly because "the clock is ticking".</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmD7UC94ZXLGRYArhTmCDWO4DhH_14gmzaUUb2cSXy45hidK6VC-kn99zMC6Dv9xVYBvDH7VC0JEru-N6gXpcUDw5IFONqkA1Pi-alu7x3qKaBMmzV9jHDTO6-y2lAD7UpO8biE2GO-vxE/s1600/Fotoguestofhonor.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmD7UC94ZXLGRYArhTmCDWO4DhH_14gmzaUUb2cSXy45hidK6VC-kn99zMC6Dv9xVYBvDH7VC0JEru-N6gXpcUDw5IFONqkA1Pi-alu7x3qKaBMmzV9jHDTO6-y2lAD7UpO8biE2GO-vxE/s320/Fotoguestofhonor.JPG" width="320" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A happy Heinz Doll, President of the Association of friends Karlsruhe - Temeswar, surrounded by the artists after the opening night:</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Director Malte Lachmann, playwright Peca Stefan, actresses Sabina Bijan and Sophia Löffler, actors Jan Andreesen and Colin Bzoianu, designer Anna van Leen.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>60 MINUTES OLDER TOGETHER</b></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Cast choir and audience celebrate on stage the first performance of DIE UHR TICKT in Karlsruhe. After each performance the audience is asked on stage for a glass of sparkling wine and a piece of cake to celebrate the performance they have contributed to by voting which scene should be played next.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>AN IMPORTANT NEXT STEP FOR THE RELATIONSHIP OF TWO
PARTNER CITIES</b></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">In her speech before the opening night, Dr. Susanne Asche, Head of the cultural department of the city of Karlsruhe, underlined the importance of artistic projects in the process of keeping the friendship between the two cities alive. On the seats: Playwright Peca Stefan and dramaturg Michael Gmaj.</span></div>
<br />European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-59843492821892787552014-09-29T11:22:00.000+02:002014-10-10T10:36:07.536+02:00From Vienna to Bratislava<div class="MsoPlainText">
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<span style="font-family: Arial, Helvetica, sans-serif;">How wonderful to be fetched at Vienna airport by a driver
of the Slovak National Theatre Bratislava. It is 10 years now that I first was brought by car from Vienna to
Bratislava, then also being involved in an ETC project: ‚Learning Europe’,
created by Armin Petras - it united 12 actors and 6 directors from 5 countries.
Three of them – Slovakia, Slovenia and Lithuania - were just about to join the
EU. 10 years ago I for the first time recognised that Bratislava was only some
60 km away from Vienna, that the river Danube was the same here and there, and
the landscape as well – and I was overwhelmed by this fact. And I cursed those
who had constructed the Iron Curtain, and divided the very heart of Old Europe,
and had separated people and made them feel more and more foreign to one another.
Now, 25 years after the Fall of the Wall and the start of ‚Soft Revolution’ in
Slovakia I just felt happy on my way to the rehearsals of LAND DER ERSTEN DINGE
/ BLUDIČKA / FEN FIRES. And I didn’t at all like the pictures which, too, came
into my mind and which tell what actually happens at the Eastern border of
Slovakia, in Ukraine.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Although the bathtube on the stage broke during an
interview for this blog because too much people hat entered it, and despite
some difficulties to completely understand one another in this bilingual
production, I still got happier in discovering that our play will work, that
with the actors Emilia, Gaby, Dusan and Eric, directed by Brit, we obviously
got a dream team to create Ninos play. The first part of rehearsals in Bratislava
now is finished. In the end of October we’ll start for another three weeks of
rehearsals in Berlin – and then have the first night on November 14th in
Berlin, 27th in Bratislava. Keep your fingers crossed!</span></div>
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<a href="http://www.artofageing.eu/performances/fen-fires" style="font-family: Arial, Helvetica, sans-serif;" target="_blank">Click here for more information about the play "Land der ersten Dinge" / "Bludicka"</a></div>
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-75997739037369607752014-09-25T17:52:00.001+02:002015-05-12T11:46:58.211+02:00Production "Strawberry Orphans" ready to premiere in Craiova!<div class="MsoPlainText">
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Press Conference with the artists from "Strawberry Orphans" at the Staatstheater Braunschweig, soon departing for Craiova</b></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"><b>Monday September 21st </b>: Journalists from TV, radio and print media attended the press conference and received a profound insight into the project and the rehearsals of Strawberry
Orphans ("Căpşunile şi Orfanii/Erdbeerwaisen"). After the showing of
three scenes the actors and the director Julia Roesler gave interviews.
"We are convinced that theatre is the best artistic way to draw people’s
attention not only intellectually but emotionally to an important European
topic" she says.</span></span></div>
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<a href="http://www.artofageing.eu/performances/strawberry-orphans" style="font-family: Arial, Helvetica, sans-serif;" target="_blank">Click here for more information about the production. </a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.artofageing.eu/uploads/data/ftp//Erdbeerwaisen%20welt.de%2023.9.2014.pdf" target="_blank">Read the press article from the German newspaper "Die Welt"</a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.artofageing.eu/uploads/data/ftp//Erdbeerwaisen%20BZ%2023.9.2014.pdf" target="_blank">Read the press article from the newspaper "Braunschweiger Zeitung"</a></span></div>
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-79455178437525911252014-09-10T17:09:00.002+02:002015-05-12T11:46:21.134+02:00Festive atmosphere in Timisoara!<span style="color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 20px;">The premiere of the German-Romanian production "</span><b style="color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 20px;"><i>The Clock is ticking</i></b><span style="color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 20px;">" (</span><i style="color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 20px;">Pe ceas, Die Uhr tickt</i><span style="color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 20px;">) was a great success last Sunday September 7 in Timisoara.</span><br />
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<span style="line-height: 20px;"><span style="background-color: white; font-family: Helvetica, Arial, lucida grande, tahoma, verdana, arial, sans-serif;"><i>Opening speech with Peca Stefan, Jan Linders and Ada Hausvater</i></span></span></div>
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<i><span style="font-family: Arial, Helvetica, sans-serif;">Some pictures of the performance that will never be the same</span><span style="font-family: Arial, Helvetica, sans-serif;">!</span></i></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Photo credit: Adrian Piclisan</span></div>
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-89337540452351723452014-09-08T13:44:00.000+02:002015-05-12T11:43:12.901+02:00Never isolate yourself! <div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Interview with Nino Haratischwili</b></span></span></div>
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<i><span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">In Bratislava, rehearsals for <a href="http://www.artofageing.eu/performances/fen-fires" target="_blank">LAND DER ERSTEN DINGE / Bludičky</a>, the co-production of Deutsches Theater Berlin and the
National Theatre Bratislava have begun. Shortly before her journey home to
Hamburg playwright <a href="http://www.artofageing.eu/article/nino-haratischwili" target="_blank">Nino Haratischwili</a> describes the first three days of
rehearsals:</span></span></i></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">“I think it
is impressive how quickly the involved parties from the two theatres have come
together and that after just a few days of rehearsals we have already become a
team, in spite of the many communication and translation problems. The coming
together and the growing mutual awareness of the two groups from different
countries, their cultures, their temperaments and their modes of expression is
inspiring for everyone and can be used as a major source of creativity. I am
excited to know that we have four brilliant actors and a young production team
who will, in the coming weeks, make my play into their own story”.</span></div>
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<i><span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><b>From now on rehearsals will continue without
you. How does that make you feel?<o:p></o:p></b></span></span></i></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">“It is sad
but I feel that it is also right. At this stage of the process I, as the
author, am no longer needed even though I would have loved to continue working
on it. But I am looking forward to attending further rehearsals in Berlin and
the premiere on 14<sup>th</sup> November”. <o:p></o:p></span></span></div>
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<i><span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><b>What aspect of this project posed the biggest
difficulty for you?<o:p></o:p></b></span></span></i></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">“The
biggest difficulty was also the biggest challenge. When you are commissioned as
an author, you are usually in contact with a dramaturge, maybe even a stage or
theatre director who supports you in working on ideas and first drafts. But for LAND DER ERSTEN DINGE I was in
contact with two theatres, four dramaturges and very different ways of
communicating and different historical backgrounds. Owing to the distance (I
live in Hamburg) as well as the language barriers we had to find a common level
of communication. This was, ultimately, very productive and an important
learning process for me but it also gave me a few grey hairs which brings us
back to “The Art of Ageing”. <i>(Laughs)</i>
<o:p></o:p></span></span></div>
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<i><span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><b>How did you feel about the topic “The Art of
Ageing”? Was it inspiring or limiting?<o:p></o:p></b></span></span></i></div>
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<i><span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></i></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">“At first I
was a little intimidated by the topic because it so easily takes on a negative
connotation if it is not approached openly enough. But the topic is extremely
important to modern society and so I also wanted to accept the challenge of
dealing with it. Especially, since the topic has a different kind of relevance
in the two countries for which I wrote the play. Questions of the future and
ageing also <a href="https://www.blogger.com/null" name="_GoBack"></a>concern us younger generations”.<o:p></o:p></span></span></div>
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<i><span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">The main focus of the play are two older women,
one from West Germany who is confined to her bed after being ill, the other one
from Slovakia, who nurses her. They cannot avoid engaging and dealing with each
other. A hopeless situation?<o:p></o:p></span></span></i></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">For the two
women the situation certainly seems to offer little hope and no way out. But they
have no other option than getting to know each other and, over the course of
the play, come to value each other’s life stories, quirks, sense of humour and
problems. The fact that we have two
actors from Bratislava who speak both German and Slovakian was a huge asset. This
made it possible for me to incorporate their linguistic abilities into the play
from an early stage”. <o:p></o:p></span></span></div>
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<i><span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><b>And finally: What is the art of ageing for you?<o:p></o:p></b></span></span></i></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">“I believe
it means not to isolate yourself, not to live in the past and to stay inquisitive.
But this is not the sole responsibility of the ageing individual but also of
society which, in times of youth obsession and superficiality, makes the topic
of “living in old age” a taboo. That needs to be changed”.<i><o:p></o:p></i></span></span></div>
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<span lang="EN-GB" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">Interview: <a href="http://www.artofageing.eu/article/ulrich-beck" target="_blank">Ulrich Beck</a></span><span style="font-size: x-small;"><o:p></o:p></span></span></div>
European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-4529484194478234452014-09-05T15:47:00.000+02:002014-09-05T15:32:15.071+02:00The issue of Ageing explored by the artistic team - Part I<div class="separator" style="clear: both; text-align: left;">
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Interviews with the artistic team from Romania and Germany</b></span></div>
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<b style="font-family: Arial, Helvetica, sans-serif;">Production "<i>The Clock is ticking</i>" ("<i>Die Uhr tickt</i>" / "<i>Pe ceas</i>")</b></div>
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<b style="font-family: Arial, Helvetica, sans-serif;"><br /></b><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/EUCOe3FGbyw?feature=player_embedded' frameborder='0'></iframe></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.artofageing.eu/article/colin-buzoianu" target="_blank">Colin Buzoianu</a>, actor at the Teatrul National Timisoara, Romania </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.artofageing.eu/article/sophia-l-ffler" target="_blank">Sophia Löffler</a> and <a href="http://www.artofageing.eu/article/jan-andreesen" target="_blank">Jan Andreesen</a>, actors at the Staatstheater Karlsruhe, Germany</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.artofageing.eu/article/sabina-bijan-" target="_blank">Sabine Bijan</a>, actress at the Teatrul National Timisoara, Romania</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.artofageing.eu/article/malte-c-lachmann" target="_blank">Malte C. Lachmann</a>, Director, Germany</span></div>
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-88188660889434590362014-08-28T12:08:00.001+02:002014-08-29T11:08:24.478+02:00How do we decide to get older together? <b style="font-family: Arial, Helvetica, sans-serif;">Essay by Peca Stefan about the performance "The Clock is ticking" (Die Uhr tickt / Pe ceas)</b><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">To address age and ageing is not the most simple research topic. Beyond statistics and </span><span style="font-family: Arial, Helvetica, sans-serif;">theories, age is extremely subjective. A lot of questions came to mind. A demographic </span><span style="font-family: Arial, Helvetica, sans-serif;">decline in Europe set against an unprecedented population growth worldwide. Questions </span><span style="font-family: Arial, Helvetica, sans-serif;">about the age(ing) of humanity itself. Prolongation of Life. The progress of science, </span><span style="font-family: Arial, Helvetica, sans-serif;">technology and health versus the consumption of natural resources and environmental </span><span style="font-family: Arial, Helvetica, sans-serif;">change. Religion versus education. Migration. Decline and progress. Diversity. The </span><span style="font-family: Arial, Helvetica, sans-serif;">politics of dealing with ageing populations. Economic shifts and current economic </span><span style="font-family: Arial, Helvetica, sans-serif;">reality. Responsibility. Intergenerational relations. Inheritance. But what about inner </span><span style="font-family: Arial, Helvetica, sans-serif;">ageing? Self-awareness. Self-projection. Social memory versus personal memory. What </span><span style="font-family: Arial, Helvetica, sans-serif;">is the psychology of it all? And what is the timing of it, at a moment when it seems – </span><span style="font-family: Arial, Helvetica, sans-serif;">more than ever – that we’re on some sort of timer to resolve many of these matters, in </span><span style="font-family: Arial, Helvetica, sans-serif;">order to guarantee the survival of humankind itself. Where are we on the clock, as the </span><span style="font-family: Arial, Helvetica, sans-serif;">clock is ticking? </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">All of these aspects and questions had to be taken into consideration while designing a research questionnaire in the cities of Timișoara (Romania) and Karlsruhe (Germany). But there was another statement that I felt to be essential for the research, the simple </span><span style="font-family: Arial, Helvetica, sans-serif;">reality: we start ageing as soon as we are born. Beyond all the data, the way people </span><span style="font-family: Arial, Helvetica, sans-serif;">perceive their own age, remember previous ages and project ages to come was of extreme </span><span style="font-family: Arial, Helvetica, sans-serif;">interest to me. Ageing is a process that never stops, and it’s extremely interesting to </span><span style="font-family: Arial, Helvetica, sans-serif;">compare how people age in two EU countries which are at the two opposite ends of the </span><span style="font-family: Arial, Helvetica, sans-serif;">spectrum: the economic champion Germany, one of the fundamental European cultures </span><span style="font-family: Arial, Helvetica, sans-serif;">and Romania, a country still recovering from its communist past, where traces of the </span><span style="font-family: Arial, Helvetica, sans-serif;">Middle Ages can still be found in the every day of its rural communities. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Of course, the findings showed many differences, but also striking similarities. For </span><span style="font-family: Arial, Helvetica, sans-serif;">instance, the way young people relate to ageing is extremely similar in both Timișoara </span><span style="font-family: Arial, Helvetica, sans-serif;">and Karlsruhe. For the generation 60+, which dealt with two different political realities </span><span style="font-family: Arial, Helvetica, sans-serif;">while growing up, the differences are striking upon visual contact: Germans generally </span><span style="font-family: Arial, Helvetica, sans-serif;">look younger, Romanians physically degrade faster. And it doesn’t stop there. There is a </span><span style="font-family: Arial, Helvetica, sans-serif;">lot to be said here about the similar histories East Germany and Romania have, and a </span><span style="font-family: Arial, Helvetica, sans-serif;">very interesting comparison between the forms of communism in the Eastern bloc and </span><span style="font-family: Arial, Helvetica, sans-serif;">their traces in today’s society. Even if Karlsruhe was not part of the Eastern bloc, </span><span style="font-family: Arial, Helvetica, sans-serif;">accounts and stories of residents originally from East Germany drew a poignant picture </span><span style="font-family: Arial, Helvetica, sans-serif;">addressing this topic. What are the current urgencies of these demographics? Which are </span><span style="font-family: Arial, Helvetica, sans-serif;">the clocks? And how are they ticking? </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">At the end of the research period there was enough material for five plays, not just one. </span><span style="font-family: Arial, Helvetica, sans-serif;">On top of it all, there was my everlasting fascination with time and my own philosophy </span><span style="font-family: Arial, Helvetica, sans-serif;">about how I am getting older. But it wasn’t just me. The subjectivity of ageing and its </span><span style="font-family: Arial, Helvetica, sans-serif;">perception remained at the core of all the findings. It seemed extremely relevant and </span><span style="font-family: Arial, Helvetica, sans-serif;">exciting to me to create a concept that would address one question: how do we decide to </span><span style="font-family: Arial, Helvetica, sans-serif;">get older together? What if we only had a finite performance time, and a social situation </span><span style="font-family: Arial, Helvetica, sans-serif;">(theatrical convention) that urges us to make a decision? So quite literally, the clock </span><span style="font-family: Arial, Helvetica, sans-serif;">would tick. What happens when we know we only have 60 minutes? How do we decide </span><span style="font-family: Arial, Helvetica, sans-serif;">to spend that time? What if we are aware we’re getting older with each second? And what </span><span style="font-family: Arial, Helvetica, sans-serif;">if we know the performance is never the same, just as our own lives are never the same? </span><span style="font-family: Arial, Helvetica, sans-serif;">What if we would only get to experience this night with the others who have come here, </span><span style="font-family: Arial, Helvetica, sans-serif;">knowing that no other audience will experience exactly the same thing? What if the hour </span><span style="font-family: Arial, Helvetica, sans-serif;">we get to experience is the consequence of another audience being here before us (an </span><span style="font-family: Arial, Helvetica, sans-serif;">inheritance)? And what do we leave to the next audience? In other words, what is the </span><span style="font-family: Arial, Helvetica, sans-serif;">responsibility of our passing, and being in a moment – even as an audience in a theatrical </span><span style="font-family: Arial, Helvetica, sans-serif;">event? </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Even further, what if an audience in Karlsruhe would inherit a performance from an </span><span style="font-family: Arial, Helvetica, sans-serif;">audience in Timișoara? How would that play out? And so on... One of the initial thoughts </span><span style="font-family: Arial, Helvetica, sans-serif;">that excited me the most about this performance which inherits itself was this idea: that </span><span style="font-family: Arial, Helvetica, sans-serif;">the performance would create its’ own memory, its’ own history. I would just imagine </span><span style="font-family: Arial, Helvetica, sans-serif;">how it is to discover, as an audience member, accounts of a performance that I haven’t </span><span style="font-family: Arial, Helvetica, sans-serif;">seen and to experience a trace (the continuation of a scene started in the previous </span><span style="font-family: Arial, Helvetica, sans-serif;">performance), an inheritance from these strangers, who might be from a different country </span><span style="font-family: Arial, Helvetica, sans-serif;">altogether. And what great joy I would have to know I will leave something to the next, </span><span style="font-family: Arial, Helvetica, sans-serif;">unknown person. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In a discussion with director Malte C. Lachmann, we did some “riffin’” (or maieutic) and </span><span style="font-family: Arial, Helvetica, sans-serif;">reached this impossible title +/- 60 which is... economically disastrous because it can’t be i</span><span style="font-family: Arial, Helvetica, sans-serif;">ssued on tickets (given the complicated +/- symbol). But even so, I just loved the title </span><span style="font-family: Arial, Helvetica, sans-serif;">and its simplicity. I believe that in conjunction with our “official” title The Clock Is </span><span style="font-family: Arial, Helvetica, sans-serif;">Ticking it makes a lot of sense for the performance. Not only because it spells out “more </span><span style="font-family: Arial, Helvetica, sans-serif;">or less 60 minutes” but also because it implies our range of research, while inviting all </span><span style="font-family: Arial, Helvetica, sans-serif;">ages to take part in this theatrical construct. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I think the stories inside the performance are worth the trip to the theatre, since they are </span><span style="font-family: Arial, Helvetica, sans-serif;">addressing many of the topics above, but what will really make this piece click will be </span><span style="font-family: Arial, Helvetica, sans-serif;">the story audiences write themselves, together, and how they will decide to age for those </span><span style="font-family: Arial, Helvetica, sans-serif;">60 minutes. To me that is the most exciting part of theatre. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.artofageing.eu/performances/the-clock-is-ticking" target="_blank">Click here to find out more about the performance and the team</a></span></div>
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-15117610492617353812014-08-14T10:46:00.003+02:002015-05-12T11:42:28.505+02:00Looking older than you are? <div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;">The actors from Karlsruhe and Timisoara now....</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The same actors a tiny bit photoshoped, and a tiny bit older...</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Malte C. Lachmann, director of the play "The Clock is ticking" </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">"Although we have finished our
first three weeks of rehearsals in Karlsruhe and the theatre is on holidays
now, the creative team's work doesn't come to a halt: We are busy preparing our
rehearsals in Timisoara as there will only be two weeks left to put together
the interactive theatre performance we started to create in Karlsruhe. And
there is still a lot to do: Our playwright Peca Stefan has written more than
three times the material it would normally need to put together a conventional
theatre night as we will have the audience choose the scenes they want to see.
That means a) each show will be unique and b) there are lots and lots of scenes
for us to rehearse in order to have enough of them in stock. THE CLOCK IS
TICKING and quite literally so. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">So, finally, after three weeks we have managed to have a draft version
of each of the scenes. The work itself was full of discovering the little and
big differences between two theatre cultures (German and Romanian) during
rehearsals and also whilst having a beer afterwards. Though, of course, there
was not too much time to focus on that with all the scenes being rehearsed,
rewritten and translated at the same time – a real inter-European creative
chaos you might say. We are all thrilled to see where rehearsals will lead us
as soon as we arrive in Timisoara and what it will be like to play with the
reactions of a Romanian audience.</span><span lang="EN-GB"><o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">Now, without the rehearsals, there is more time to discover other
meanings of the “Art of Ageing”, for example the art of ageing portraits of our
actors on photoshop that will be projected throughout the show:"</span></span><span lang="EN-GB" style="font-family: "Verdana","sans-serif"; font-size: 7.0pt; mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-36527912587397804032014-08-11T11:18:00.000+02:002015-05-12T11:41:40.104+02:00Rehearsals "Strawberry Orphans" in Braunschweig #3<div class="MsoNormal">
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt;">I`m Julia, the director of STRAWBERRY ORPHANS and I also did the
research with my colleague Silke in Romania.</span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt;">We just started the practical work in Braunschweig (Germany) with lots of
improvisations and first scenic steps. One main challenge was the way to a
common language on stage, which is now a mixture of Romanian, German and
English. It is quite amazing to see that this is working.</span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 12pt;">For me, the most fascinating point of this project is the international
exchange in aesthetics and intellectual approaches. Especially the hard
discussions we had about justice, guilt and racism opened my mind. It should
have been obvious, but the fact that we are people from one of the poorest and
one of the richest countries in the EU really means connecting very different
perspectives on the chances and risks of this whole European Union. For now it
really feels like a very good chance to reflect on my own positions and doubt
things I felt really sure about.</span></span></span></div>
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-39771708524369885162014-07-21T17:15:00.002+02:002015-05-12T11:40:50.378+02:00Rehearsals "Strawberry Orphans" in Braunschweig #2<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;">The two actresses from Craiova and the two actors from Braunschweig went to pick strawberries in the German countryside. Another way to reflect on the topic of the performance outside of the theatre venue. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitHwNf7A3_8E3leq1eGtuxUbQWnRcVuR2Zhv8EVj_ZNABZ-1AX8G1TxoUJdiUe5JhQox1dn9ysQhBeBFb3xIhY67HfEU3_CVRNwS0VGGcbnY4dNDJP5ysutUcXG4uZI35GahEL2uGoh0Wz/s1600/Gabriela,+Oli,+Sven,+Gina.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitHwNf7A3_8E3leq1eGtuxUbQWnRcVuR2Zhv8EVj_ZNABZ-1AX8G1TxoUJdiUe5JhQox1dn9ysQhBeBFb3xIhY67HfEU3_CVRNwS0VGGcbnY4dNDJP5ysutUcXG4uZI35GahEL2uGoh0Wz/s320/Gabriela,+Oli,+Sven,+Gina.JPG" width="320" /> </a><span style="font-family: Arial, Helvetica, sans-serif;"><br />From left to right: Gabriela Baciu (Craiova), Oliver Simon (Braunschweig), Sven Hönig (Braunschweig) and Gina Calinoiu (Craiova)</span> </div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Oliver Simon (actor, Staatstheater Braunschweig)</span></div>
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-78148842110534306062014-07-16T15:04:00.004+02:002015-05-12T11:38:51.869+02:00Rehearsals "Strawberry Orphans" in Braunschweig #1<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">The summer time started with very creative encounters. The Staatstheater Braunschweig is the host of the 1st rehearsal period of the production "Strawberry Orphans". The two actresses from Craiova, Gina Calinoiu and Gabriela Baciu met the actors from Germany to read a first version of the text. Now it is time to bring it to the stage!</span><br />
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0tag:blogger.com,1999:blog-2860702011258588022.post-2773688568594031392014-07-03T17:51:00.004+02:002014-08-11T11:24:26.031+02:00Strawberry Orphans<div class="separator" style="clear: both; text-align: center;">
<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://i1.ytimg.com/s_vi/LzPS-hSGsJE/default.jpg?sqp=CNDy1Z0F&rs=AOn4CLD9_ffbzqCF5-voKoWXqN1KI03cPA" height="266" width="320"><param name="movie" value="https://www.youtube.com/v/LzPS-hSGsJE?version=3&f=user_uploads&c=google-webdrive-0&app=youtube_gdata" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://www.youtube.com/v/LzPS-hSGsJE?version=3&f=user_uploads&c=google-webdrive-0&app=youtube_gdata" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 1.4em;">Last year, Silke Merzhäuser and </span></span><span style="font-family: Arial, sans-serif;">Julia Roesler, from the collective of artists <a href="http://www.werkgruppe2.de/" target="_blank">"werkgruppe2"</a></span><span style="font-family: Arial, sans-serif; font-size: 11pt;"> </span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 1.4em;">travelled to Romania to meet the team from the theatre in Craiova. They went together in Romanian villages where many families are tore part because of labor migration.</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 1.4em;"><br /></span></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 1.4em;">One interview is translated into English and will be use as a base for the theatrical work. </span></span><br />
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<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">GRANDMOTHER</span></span></b><br />
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">My grandchild Marina said her mother is lying to her.
She didn’t told her that she will be away such a long time and now she still
isn’t come back.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">Marina told me her mum will be beaten when she comes
back – but now she still isn’t back.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">It is terrible. There are four who are away, four of
my children. One is in Scotland since eight years and one girl is in …eeehhh…
not in Spain, but in … I don’t remember the country…<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">The mother of Marina and her aunt are in Germany. They
also have been there last year and they are this year again.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">They have the possibility to work somewhere and so
they have to go.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">Three months now.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">Last year they have been away for two months and one
week and now I’m wondering… They told us they are stopped till every work is
done. I don’t know exactly…. They don’t know exactly… when they will come home.
Till everything is picked clearly, but new strawberries were coming into…<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">I have no telephon. I do no phone calls. They don’t
want me to talk at the phone because then everyone is crying. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">The father of Marina is working at the marketplace,
from 6 o’clock in the morning till 8 in the night. 750 lei – almost nothing …
it isn’t even enough for the girl… We can live almost with nothing. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">And here I am. I have land but I am not able to farm
anymore. The women over the way, she is doing my laundry as I can’t do it. My
back… I can’t walk anymore, my legs are not good anymore. Here I am - with the
girl. What shall I do?<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">No, no. I‘m not in the mood for singing. I’m not in
the mood for anything.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">My biggest wish is that the children are getting jobs
here so they can be with their kids in the evening. So that they don’t have to
be always with me …. that would be the best. That would be even good for me.
I’m 81 years old. My husband passed away 21 years ago. I stay on earth and </span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">I
have to take care for everyone. I can’t walk anymore. It would be good, when I
pass away suddenly. Then I wouldn’t have to watch my children having such a
hard time. If they would find jobs in Romania, I could pass away und it would
be perfect because I could pass away peacefully.<o:p></o:p></span></span></div>
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<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">MARINA<o:p></o:p></span></span></b></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">I will go to high school and then I will be a doctor.
I told my grandmother I will bring her back to health and so she will never
have to pass away…<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="font-family: Arial, Helvetica, sans-serif;">I have a desire, I wish my mother would come home. She
told me next time she will give me a present: a Monster High Barbie. The Barbie
can tumble around.</span><o:p></o:p></span></div>
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European Theatre Convention (ETC)http://www.blogger.com/profile/16003906679687132378noreply@blogger.com0