Volksbühne Ost
Red, Blue and Yellow

A theater evening on the subjekt of AIDS.

directed by Dirk Cieslak

Silvia Kesselheim - vocals
Sygun Schenk - dance
Armin Dallapiccola - lyric
Matthias Botsch - piano

Michael Bender - stage-set
Uwe Meseberg - kostüm
Horst Mühlberger - lights/technics

The play works on the experienced sickness of a friend and coalleague that died as a result of AIDS.

RED, BLUE AND YELLOW doesn't intend to show the reality of sickness or to spill out voyeuristic pictures and feelings of a dying man. It intends confrontation with AIDS, death and dying. Thats why the play speaks from the perspektive of those left behind and not from the perspektive of a sick and dying man.

In RED, BLUE AND YELLOW the elements song, dance, lyric and music are joined to form a hommage for a deseased friend.
The song repertory consists of numbers by Cole Porter, David Bowie, Lou Reed, Gershwin and others. The skript is based on interviews with the beraved.
The stage set is created by the artist Michael Bender who died on AIDS in 1994.

And the moral of "Red, Blue and Yellow ": unconditional closeness. Sharing the experience, watching, talking part until the end.
theater heute 10/93

Summer theatre on the wrong objekt. A deadly grave silence on the subjekt of AIDS lyes over german theatre. It is more often well minded attempts than aesthetics convincing solutions. An honorable exeption is the "Gruppe Lubricat " who dares a very hard and personal attempt to form mourning into strict aesthetic, far beyond any tearfull bliss.
TAZ Berlin, June, 18th, 93

They don't psychologize; through abstraction they avoid the touch of sentimentality. It succeeds to pull the viewer into a suction far away from emotional pressure.
Tagesspiegel, June, 7th, 93

Throughout the strict composure the involvement and consternation is constantly felt. Here death and mourning are reality. Authenticiy in art experience can work, even if postmodern theories deny it.
TAZ Berlin, June, 10th, 93

The reservation and understatement give the viewer the chance to be touched. Armin Dallapiccola recites passages from conversations with relatives of the AIDS victim Uwe. Not one false or forced word disturbs the authenticty of it. The actor carries out the skript without emotions. His inner movement is only "given away " by his body language. What Armin Dallapiccola only hints on, Sygun Schenk turns into clear and ugly body language; hard. square and abrupt. Every muscel is visable. The lyrics of well known love songs, sung by Silvia Kesselheim, gain within these bounds new quality. One has never before perceived them thid way.
Frankfurter Rundschau, Dec., 7th, 93

As strong as a production like this refrains from tear jerking tragedy, does the viewer try to fill the emotional emtyness of it. To think back to ones own loves and mourning. And this evening touches even stronger.
Weser Kurier, Bremen Nov., 29th, 93

The director, Dirk Cieslak mounted their actions close together, deranged the situation and avoided all sentmentality. With these resources he created a collage wich, in an allmost painfully mean way, intensifies the situation to a state of anguish, only to end with verses of "Schneider Böck ". Death on the stage is not a game, it is summoned up.
Badische Neue Nachrichten, Dec., 7th, 93

An AIDS-play without any sentimental consternation, brought across as sober as a medical report. Inspite of the reservation, "Red, Blue and Yellow - if you were stil around..." offers a stiring theatre experience.
Hamburger Abendblatt, Jan., 21th, 94

Streamlined and slippery (one remembers the earthy and homoerotic scenes in Kusher's success on stage with 'Angels in Amerika' in this context) are exactly the attributes, witch could not not be more strange for Dirk Cieslak's production. Dallapiccola while moving in lonly and encirceld ways, speaks about the last days of his friend in a way a surgeon would speak about an exitus. When Silvia Kesselheim is singing, lovesongs from George Gershwin to Prince she is doing it with a hind of erotic a dentist is using while in the execution of her duty. And the dancer shows her body as an automatic machine or as an obsessed person: Art-acts. Cieslak aesthetics combines irony with icy roughness - and with this he is able to create a language for the unspeakable, which could not be more burning.
Neue Züricher Zeitung, Juli, 1th, 94

In co-operation with the artist-group LOLLI POP HOMO, Hamburg.

Sponsered and supported by:
LIFE-AIDS (magazine MAX & Hamburger AIDS Hilfe), Fond für Darstellende Künste, Essen
Senator für Kultur und Ausländerintegration der Stadt Bremen, Behörde für Arbeit, Gesundheit und Soziales, Hamburg, Deutsche AIDS Hilfe, Berlin

Premiere Volksbühne am Rosa-Luxemburg-Platz, Berlin on the 5th. of June 1993.


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