Obscenity in the venerable rococo kitsch frame on the stage of Cuvilliéstheaters? That sounds tempting, contrasts are ultimately great, if they are productive uses. But that they also fixed and can be flattened down, has it turned out, unfortunately, in the course of the performance.
Sarah Ruhls piece next door - The Vibrator Play (. Premiere: 26.2 Director: Barbara Weber) makes hysteria on stage. The woman was suffering a boom in the late 19 Century is here and cast together with the traditional gender roles in the form of a loose comedy. There are the sickly-pale wives of the wealthy bourgeoisie, are bored, diagnosed with this strange disease of the womb is (hysteria of Greek hystera - uterus), misunderstood, worried by their more or less men, who as a representative of the spirit and the scientific method that defect fix to be desired - but they suffer unbearable with their loved ones. Of course, even the extroverted type of artist (quite casually: Miguel Abrantes Ostrowski) is not missing, who is hysterical as the division of roles - where the disease will come too, so without a uterus? And then there's the maid, black, low-earning and SO of course, that it is still too real sexual feelings in the situation (and modestly believe in God in marriage, of course).
Next door - The Vibrator Play is a game between men and women, between inside and outside, naturalness and sophistication, health and disease ... a sampling of the figure of binary oppositions. Unfortunately, this finding does not follow the Gegenteiligkeiten deconstruction, so that one has after the evening while leaving the theater, quite delighted, but not really gained a new perspective on people and their relationships to each other. The contrasts begin in the interior design (scene Janina Audick): a turn of the century interior with large windows overlooking the park behind, with the interior itself is further subdivided, and this is also taken up in the dark to light colors. The living room with dark hangings and piano, a white circular bench made of leather and tea table and the working area of the practitioner with a bright Fließung, bunk, sink and all kinds of medical Geräschaften. It is the laboratory, the "next room" separated by a door from the living room and the wife of the doctor as far as possible not to enter. No wonder that the doctor working at home and away and can hardly left little time or affection for his lover has.
The proper and highly professional Mr. Givings (typical man: Norman Hacker) treated hysterical women - through the miracle vibrator unit (which looks here like a hair dryer with a rotating brush attachment) and the amazing power of electricity. The disease, which manifests itself in paleness, insomnia, light sensitivity, seizures, shortness of breath and fainting spells, is attributed to an imbalance in the body's own juices. Be executed through clitoral stimulation from the vibrator caused a contraction of the uterus to release the excess juice and take care of recovery. Throughout the course, strictly under the protection of privacy! As far as the historical facts. Is that the hysteria a causeless, mental illness, whose symptoms of the treatment tables disappeared again, as it had appeared that these symptoms diagnosed by society and bring about spoken were, were also from the male gaze projected into the women, the staging is hardly dar.
The closeness of the place as the consistency of the characters is not broken in the course of action. However, one missing in the piece that joins to orgasm orgasm, something like a climax tapered voltage curve. On vibratöse treatments tea party, or vice versa, then in between times just the hysterical artist, the screaming baby, the natural eye. And here and there like a musical put forward songs of the protagonists, which fit only moderately well with the overall picture, since there is no voltage operation, the delay could be this. The action takes place without great conflicts, episodes are strung together - the construction seems similar to the registered female desire: women can even run forever, and never experienced a climax, no, but several that run in waves through the body, such as one (s) it describes so much.
Only the patient, Mrs. Daldry (playful and funny: Caroline Conrad) seems to be a transformation take place to, but not caused by Mr. Givings' electronic vibrator treatment, but the manual treatment of his assistant Annie (correctly and smartly: Katharina Pichler) - women approach each other, make friends, and discover in the course of the play step by step, their desire for each other. Mrs. Daldry's recovery is also reflected in their clothing (costume, Tabitha Brown) - occurs the first time they are in the turn of the century dress with flaring Tournürenrock, wearing them the next time already a fußfreien, tight-fitting skirt and the last time even trousers. However, what kostümlich remains constant, the dangerously high heels, which she teeters on the stage - she remains in it but the defenseless victims of female (ever tried to take in high heels to escape?) And fetish object No. 1 of the male desire.
Mrs. Givings (an overwound Hanna disc, when you look at is not quite sure if the hysterical fits now for the piece include or not ...), always happy, but if a lack of employment and care by their values husbands bored married and a housewife interested, of course, burning for what her husband was driving with his Patient_Innen as the "room next door," she hears it again and again moaning and screaming and not even then only if she is listening at the keyhole. While she wants to convince him of experiments on her, he denied this, the seemly for a scientist not, but it is also healthy. Sly and cunning she gives with Mrs. Daldry in the absence of her husband's admission to practice and test the device. Both prepares the prospective fun, quite the opposite of the sterile running sessions of her husband. However, they will find out in conversation that their feelings are very different, so of course a third party must be consulted. Nurse and maid Elizabeth (. Thelma Buabeng, which can be summed up in this turbulence is nothing out of the rest) eröffent finally, that the descriptions of the ladies sound like it, as what they feel while having sex with her husband - what piqued the ladies conflict can be: the man comes to bed, then he was very delicate, and she slept most of anyway, but it is definitely not the way this type of treatment.
If the device has at least one effect, then, that women find so their sexuality - but secretly, without the knowledge or permission of the man. But rather than explain to the men as superfluous and drawn with the wonderful vibrator by Dannen, the action falls back towards the end, the ideal of romantic and idealized, natural love: Mr. and Mrs. Givings their desire to summon up again and disappear into the garden, to make love. The artist is also hysterical healed, probably true, but unrequited love for his new muse, the nurse, Elizabeth - he as a married woman but she can not have it, he pulls away to Paris (with the replacement of the unfortunate men anal vibrato). Elizabeth announced to her position as nurse to spend more time with husband and family.
A sentimental tribute to true love in times of cyborgs, computer sex and hardcore pornography.
Who wants to spend an entertaining evening with not too heavy food from the menu of contemporary drama may well dare to visit. The humor is not obscene, but not too deeply, to enjoy themselves well, the actors seem at least to have fun on the thing and the meaning of flooding, as practiced by the postmodern theater quite like, is missing. After all, the piece bears its part to sexuality and to be able to see the resulting conflicts with humor.
However, anyone who is more interested in gender theory and gender roles, will take from the piece rather little. Which is a reading of Judith Butler, for example, or sexual material Beatriz Preciados counterpoint manifesto to heart.
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