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1992

Kampnagel | Hamburg
September




With
Silvia Kesselheim
Miriam Fiordeponti
Armin Dallapiccola
Ralf Knicker

Set - Petra Korink
Costumes - Uwe Meseberg
Sound - Dieter Fenchel

Director - Dirk Cieslak


Where its ancient order is destroyed, the world can not be divided in red and white, guilt and innocence. All turned red and guilty.
It's the world of the ones marked by death.
SEPTEMBER is about a desperate attempt to reach the white pole of innocence and eternity.

The "white" and the innocent have to be searched for in a next world which is no place, but a state of utopia. It's a state without any doubt, guilt, or disgust. Only by going ecstatically into an extreme one can enter a dimension of a "white" utopia.

The horny flesh of the woman, the lap of unclean nature disgusts the man. The earth smells of decay, the dead reach for the living. Only the rock of the montains gives shelter from the dead. With his vitality and the beauty of his smooth, pure, clean body, relieved of transitoriness, of death, the boy arouses an unrestrained desire. This desire makes one forget all rules of morals. In the boy's pure body of marble the man finds lust. Lust as a pure energetic development of force.

The order of society, which is only a disorder, has to be teared down before one can turn away in relieve. The opening new horizon is determined by a fantasy of absolute, holy purity and total energy - the mobilization of all forces.

The act of absolute exceed into a holy state takes to a precipice.
Death, murder, and suicide are the price of reaching for the ideal. The woman slits the boy and drowns herself, the man falls into an abyss.

SEPTEMBER is a play about the vision of a manly culture, fantasys which haunted Europe in the shadow of World War I as a rescue from a modern age which was experienced threatening and desastrous - particularly in Germany.

Movement, gesture, text, and voice should link to a nightmare of "energy" "purity", "disgust", and "death".


... It seems as if Riefenstahl and Fassbinder would have liked to pick a mixed doubles. ... Their artistic ability, combined with experimental radicalism, which today cannot be taken for granted, makes also their new production September seem as a very interesting, at least worth discussing attempt.
Weser-Kurier, 10.4.92

... Their dancers make of a precise body language a surreal theatre of pictures between Max Ernst and the Worpswede painters.
taz Bremen, 10.4.92

... Accompanied by background noises of natural sounds, the busy humming of bees, and a sultry threatening stormy atmosphere, two women and two earthy men with leather shorts on commence the battle of the sexes. ... The end is bloody desaster. In the novel. In the theatre. And in the heads of the members of the audience.
Hamburger Abendblatt, 21.3.92

... The modern world is to be doomed. A dark stage is a sign for a dark time in september 1914. Bird's twittering is smothered by the rumbling of the guns of the World War - the end of any romantic.
taz Hamburg, 21.3.92

... A mortal mountain-drama is looming in the sultriness of late summer, accompanied by cricket's chirp. The frustrated woman waits, feeds, demands skirt-lifting the "respect of a decent erection". But men dedicate themselves showing muscles off, wrestle themselves in kiss and hug. A grotesque dirndl-princess haunts and plays ironically pranks among this trio.
Hamburger Morgenpost, 21.3.92

... Compliments to the actors, who give even in the shortest scenes a strong presence. All they are marked, bewildered zombies: the slowly fading slut, the silly dirndl-princess, or the vigorous real man, who hopes to be saved if he swaps his affected behaviour of machism for the humiliation by the young boy.
Hamburger Rundschau, 26.3.92

... A fascinating inapproachable conglomeration of poses, smallest dramas and sketches, an ambitious network of symbols and references, allegories and quotations.
Die Welt, 21.3.92


A Co-Produktion of Gruppe Lubricat and the Internationale Kulturfabrik Kampnagel, Hamburg. With the support of the Senator für Kunst, Hansestadt Bremen.

Premiere: 19.3.92 Internationale Kulturfabrik Kampnagel, Hamburg.




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