BERLIN — This year’s installment of Theatertreffen Berlin, the spring festival of the best of German-language theater that has been going strong since 1964, required some sitzfleisch — that is, the ability to stay planted on your derrière without fidgeting for the duration of a Wagner opera.
From a 10-hour Greek-inspired epic to takes on August Strindberg and David Foster Wallace that lasted four hours apiece, the program seemed to argue that, when it comes to cutting-edge drama, more is more.
With roughly 150 state-funded theaters and a similar number of independent stages, Germany has a uniquely rich theatrical landscape. (Last year, the Foreign Ministry applied for the country’s theaters and orchestras to be placed on Unesco’s list of intanglible cultural heritage.) But Theatertreffen 2019’s nine productions also spanned the German-speaking world, with Austria and Switzerland, two smaller nations with robust theater scenes, well represented.
Last year, the festival kicked off with Frank Castorf’s acclaimed seven-hour “Faust,” the director’s penultimate production for the Berlin Volksbühne, which he led with an iron fist for 25 years before being ousted in 2017. Castorf’s messy and unhinged vision of Goethe’s classic felt like a celebration of the wild, unpredictable Berlin that many feel is fast disappearing.
This time around, the festival spoke with a less pronounced Berlin accent. The city’s leading ensemble theaters were virtually shut out: The Deutsches Theater was the only one to make the cut, although its entry, a gripping chamber version of the Ingmar Bergman film “Persona,” was first seen in Sweden at Theater Malmö, which co-produced it. The two other Berlin shows were both independent productions.
In one, Thorsten Lensing’s quick-witted and energetic version of the novel “Infinite Jest,” the four hours miraculously whiz by as six nimble actors appear in multiple roles in a reduced version of David Foster Wallace’s 1,000-page postmodern epic. The madcap story of the Incandenza brothers and the dysfunctional damaged characters who cross their paths unspools on a mostly bare stage, with the actors performing in front of, leaning against or, occasionally, mounted on a large rust-colored wall.
Despite its minimal trappings, Mr. Lensing’s production is resolutely traditional in the sharp focus it places on the highly disciplined cast, whose emotionally and physically raw performances careen from wild slapstick humor to downright cruelty to genuine pathos. Throughout this surreal and frequently hilarious ride into existential despair, Mr. Lensing and his troupe manage to walk Mr. Wallace’s tightrope between irony and sincerity.
A similar degree of theatrical purity, if not rigor, was on display in the festival’s final entry from Berlin, “Oratorium,” by the performance collective She She Pop, a predominantly female group with a penchant for the experimental. Described as “a collective meditation on a well-kept secret,” this 100-minute show about the runaway housing market in Berlin uses a ritualized call-and-response between the actors and the audience to reflect on the place of the individual, especially non-property-owners, in a deeply unequal society.
The debt to Bertolt Brecht and his “Lehrstücke” — the didactic plays from the 1920s and 1930s that collapse the divide between stage and spectators — is immediately apparent. Max Knoth’s songs, accompanied by trumpet and vibraphone, recall the stage music of Hanns Eisler and Paul Dessau, two of Brecht’s collaborators.
The onstage marching and flag waving lend the production an agitprop feel, while the text itself is a far cry from Brecht’s idealism: The show rails against the inequities and abuses of late capitalism without proposing radical solutions. At one point, members of the audience with an inheritance are requested to come onstage and calculate the combined net worth of their property. This is done without ridicule or scorn, but rather with a frank acknowledgment that, while extreme inequalities are present in contemporary society, privilege is not, in itself, a crime.
The wittiest and most refreshing moments come early in the evening, with reams of projected text addressed to various segments in the audience: single mothers without fixed incomes; freelancers; retirees with ample pensions; retirees without ample pensions. In response, the members of these cohorts raise their voices tentatively at first and then with mounting confidence. After a while, however, the novelty wears off, and the show’s coda — in which the audience sings along with the Beatles’ “Because,” a beautiful song (with tricky harmonies!) about appreciating the way things are — ends the show on a note at once sentimental and defeatist.
Theater as communal ritual is also a central element of “Dionysos Stadt,” Christopher Rüping’s staggering 10-hour production based on Greek epics, which was arguably the festival’s most lauded entry. In fall 2018, “Dionysos Stadt” kicked off the Münchner Kammerspiele’s season on a high note, and it has since become one of the season’s biggest hits, with further performances planned in Munich for later this season and next. Over the past week, Berlin critics and audiences swooned at discovering the play, which encompasses Prometheus, the Trojan War and the Oresteia, to name a few of the episodes. Mr. Rüping, 33, is an in-house director at the Kammerspiele, and this marked his second consecutive appearance at the festival to represent Munich’s storied playhouse. (His muscular “Drums in the Night” was a highlight last year.)
The most perplexing show I saw at the festival was Sebastian Hartmann’s “The Insulted and Humiliated,” based on an early novel by Dostoyevsky, one of two productions from the Staatsschauspiel Dresden. Over 160 intermissionless minutes, nine jittery actors attempt a deconstruction of the Russian writer’s sprawling and tragic melodrama. The performances are undeniably fearless, with two members of the theater’s ensemble, the virtuosic Luise Aschenbrenner and the magnetic Torsten Ranft, particularly memorable.
But the production itself is bewildering: It incorporates a lecture on poetics delivered piecemeal throughout the performance by an actor, a late-evening monologue about Surrealism, and a massive canvas that is constantly painted and repainted on the rotating stage. How and why “The Insulted and the Humiliated” beat out nearly 400 productions for a coveted spot in the Theatertreffen lineup were almost enough to make me lose faith in the festival’s selection committee.
But Claudia Bauer’s production of “Tartuffe, or the Pig of Wisdom” the following evening succeeded in restoring it. Theater Basel in Switzerland commissioned this zany rewrite of Molière’s comedy about the unmasking of a lecherous charlatan from the German electropop musician and writer PeterLicht, and cast it with eight of the company’s superb actors.
PeterLicht filled in the basic contours of Molière’s original with exuberantly hilarious dialogue that seems to follow Monty Python logic. With its neurotic silliness and its linguistic obsessiveness, the text also seems to owe a debt to the quirky writer-director René Pollesch. The frequent repetition can be tiresome, like a comedy sketch gone on too long, but there’s no denying the delirious pleasure that comes from watching this cleverly contrived and nimbly executed farce.
In the buildup to this year’s festival, Theatertreffen faced a backlash for the underrepresentation of female theater makers. (Just a third of the nine productions were by women.) In response, Theatertreffen announced that starting next year, half of the offerings will be directed by women or majority female collectives: a bold proviso in such a male-dominated industry.
But can a quota system translate into quality? That’s what theatergoers will be wondering when the next Theatertreffen rolls around.B:
彩票信息开奖查询结果【鬼】【见】【愁】【的】【那】【些】【兄】【弟】，【并】【没】【有】【经】【过】【专】【门】【的】【训】【练】，【这】【些】【人】【有】【一】【个】【特】【点】，【就】【是】【体】【格】【都】【很】【健】【壮】，【动】【作】【灵】【活】，【遇】【着】【事】【情】，【能】【够】【灵】【活】【机】【动】【进】【行】【处】【理】。 【经】【历】【了】【两】【次】【大】【的】【偷】【袭】【之】【后】，【这】【些】【人】【的】【自】【信】【心】【暴】【涨】，【特】【别】【是】【他】【们】【拿】【着】【两】【倍】【的】【薪】【水】，【别】【人】【都】【得】【在】【自】【己】【的】【岗】【位】【上】【呆】【着】，【干】【活】，【累】【得】【够】【呛】，【拿】【到】【手】【的】，【却】【比】【自】【己】【少】【很】【多】。 【这】【些】【人】【都】
【把】【豆】【包】【拜】【托】【给】【江】【极】【北】，【我】【就】【拖】【着】【行】【李】【箱】，【跟】【着】【科】【长】【踏】【上】【了】【飞】【往】【广】【州】【的】【航】【班】。【航】【班】【在】【晚】【上】8【点】【半】【到】【达】【白】【云】【机】【场】，【六】【月】【中】【旬】【天】【气】【炎】【热】【的】【广】【州】【城】，【弥】【漫】【着】【大】【雨】【即】【将】【到】【来】【的】【信】【号】。 【出】【租】【车】【驶】【向】【定】【好】【的】【酒】【店】，【窗】【外】【掠】【过】【发】【光】【的】【小】【蛮】【腰】，【让】【我】【瞬】【间】【想】【起】【了】【两】【年】【前】【我】【和】【吴】【真】【儿】【到】【此】【出】【差】【的】【场】【景】。 【顺】【带】【着】，【想】【起】【了】【在】【我】【记】【忆】【深】【处】【安】
“【一】【对】【蠢】【物】！”【蔚】【璃】【懒】【怠】【多】【言】，【只】【蹙】【眉】【怒】【嗔】。 【玖】【儿】【更】【加】【不】【明】【所】【以】，【可】【是】【见】【她】【恼】【了】【也】【不】【敢】【再】【随】【意】【言】【说】。【知】【她】【这】【些】【天】【忧】【患】【实】【多】，【也】【不】【想】【再】【添】【她】【苦】【恼】，【只】【另】【外】【寻】【话】【安】【慰】【道】，“【这】【个】【世】【子】【倒】【也】【乖】【巧】，【纳】【个】【妾】【还】【来】【问】【问】【长】【公】【主】，【可】【见】【他】【对】【长】【公】【主】【敬】【慕】【之】【心】。” 【蔚】【璃】【哼】【笑】【一】【声】，“【你】【知】【甚】【么】？【这】【叫】【做】【先】【礼】【后】【兵】！【叫】【我】【今】【时】【拦】【他】
【宁】【清】【秋】【没】【有】【想】【过】【要】【骗】【任】【何】【人】，【但】【是】【就】【是】【在】【吃】【饭】【的】【过】【程】【里】【面】【把】【事】【情】【真】【相】【和】【盘】【托】【出】，【那】【只】【会】【让】【大】【家】【觉】【得】【她】【并】【非】【是】【真】【心】【想】【要】【告】【诉】【她】【们】【这】【个】【问】【题】【的】【答】【案】，【所】【以】【想】【方】【设】【法】【的】【编】【造】【一】【个】【可】【笑】【的】【答】【案】【给】【她】【们】，【这】【显】【然】【是】【不】【太】【好】【的】。 【好】【好】【的】【一】【顿】【饭】，【到】【时】【候】【若】【是】【不】【欢】【而】【散】【那】【就】【是】【不】【太】【美】【妙】【了】。 【于】【是】【便】【是】【决】【定】【说】【一】【半】【留】【一】【半】，【也】【不】【算】
【王】【宫】【的】【广】【场】【花】【坛】【中】【央】【竖】【立】【着】【一】【座】【高】【约】【十】【八】【米】【的】【雕】【像】，【具】【凯】【茜】【所】【说】，【那】【是】【弗】【洛】【克】【达】【伊】【的】【第】【一】【任】【国】【王】，【也】【是】【建】【立】【了】【弗】【洛】【克】【达】【伊】【的】****，【卡】【尔】【顿】【约】【翰】【王】。 【这】【座】【雕】【像】【正】【是】【在】【他】【逝】【去】【以】【后】【这】【个】【国】【家】【为】【了】【纪】【念】【这】【位】【伟】【大】【的】【王】【而】【建】【立】【的】。 【值】【得】【一】【提】【的】【是】，【王】【宫】【正】【门】【外】【的】【大】【街】【正】【是】【以】【卡】【尔】【顿】【约】【翰】【王】【命】【名】【的】【大】【街】，【热】【闹】【非】【凡】。