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T h e...C I R C L E S...S E L E C T I O N |
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Sterijino Pozorje Festival |
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Novi Sad |
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May 26th - June 5th 2008 |
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SATURDAY - MAY 31st 2008 |
Small Stage, Serbian National Theatre |
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19:30 |
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Mark Ravenhill
Der SCHNITT / The CUT
Schaubühne, Berlin (Germany) |
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Direction
THOMAS OSTERMEIER
Stage and Space Design JAN PAPPELBAUM
Composition ALEKX NOWITZ
Video rad
BORIS MILjKOVIÆ
Video Instalation JULIAN ROSEFELDT
Stage
MAGDA WILLI
Costume Design ALMUT EPPINGER
Dramaturgy
MARIUS VON MAYENBURG
Lighting ERICH SCHNEIDER
German by NILS TABERT
Premiere:
March 21st 2008 |
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Paul |
THOMAS BADING |
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Susan |
JUDITH ROSMAIR |
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John |
DAVID RULAND |
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Stephen |
SEBASTIAN SCHWARZ |
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Mina / Gita |
JUDITH STRÖSSENREUTER |
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Voice and musical performance |
ALEX NOWITZ |
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Dance |
FLORENCIA LAMARCA |
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GAIL SHARROL SKRELA |
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| The Schaubühne Berlin stands for contemporary, experimental and international theater work. Since being established in 1962, renowned directors have made theater history, first at the Hallesches Ufer, now at the theater’s current home at Lehniner Platz. Numerous international tours, awards and honors for directors, productions and the ensemble all provide impressive testimony to the enormous success of the current artistic team under Thomas Ostermeier and Jens Hillje, in further developing the reputation of the Schaubühne (Katharina Schüttler was voted Actress of the Year for 2006 for the role of Hedda in Hedda Gabler). No other German theater is present on the international scene in a comparable manner. With Thomas Ostermeier and resident directors Luk Perceval and Falk Richter, the
Schaubühne continues its tradition of contemporary and critical interpretations of classic works from Moliere and Shakespeare, Ibsen and Chekhov, to Bertolt Brecht and Arthur Miller. A further core of the company’s repertory is the work of living authors: over 50 World Premieres testify to this, as do the annual Drama Competition for young and emerging playwrights, and the Festival for International New Drama (F.I.N.D.), during which new work from Germany and abroad is presented over the course of one week each year. |
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E R F O R M A N C E...... |
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The inner sense of security in Western societies has disappeared. Trust in the Western lifestyle has vanished, and the capitalist promise of prosperity and happiness has become hollow. We find ourselves between a rock and a hard place: between fear of the foreign enemy, who may well already be among us as a sleeper, and our mistrust of the state. A paranoid reflex toward reality has become the emotional note of our everyday existence.
Two new English theatre pieces occupy themselves with this topic: Mark Ravenhill’s piece The Cut and Martin Crimp’s The City. The cut describes a society in which the state seeks to control the consciousness of its citizens by using an ominous operation – something between castration and a lobotomy. But in the meantime regime change is looming, and the protagonists of The cut must prepare themselves to answer to the next generation. |
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S E L E C T O R ' S...R E P O R T...... |
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Concurrently with the 53rd Sterijino Pozorje Festival, in the early days of summer, it will be exactly forty years since the student protests and other turbulent political events that marked the already historical year of 1968. Besides the social turmoil caused by this movement all around the world, as well as in former Yugoslavia, it also had a significant impact on the art of that time, theatre in particular. Some of the most important local Yugoslav reflections of 1968 were recorded, among other places, in Sterijino Pozorje, causing an adequate aesthetical and ideological turbulence. Today, forty years later, the Berlin Wall has fallen, Europe has united, Yugoslavia has disintegrated; in our country the burdensome decade of the civil war is now behind us, and the decade of slow and unfinished democratisation of the society and economic transition is near its end. Our theatre after October 5 is only just timidly starting to grapple with the social and political problems of the post-Milosevic Serbia, and the socialist past of this country is a special kind of taboo: it is being treated superficially only as a dark dictatorship, without a need for critical and dialectical insight and possible recognition of elements of its positive heritage. In such a context, the treatment of the 1968 revisionist or leftist movement is equally inadequate.
The situation is such in our theatre, but not in the European as well: the programme of the Circles is, therefore, dedicated to problematising the leftist legacy of 1986, both on the level of topics and theatrical language. The questions raised by this year’s Circles are: how do we see 1968 today and all that has emerged from it in the political sense? Is a radical political change based on progressive ideas possible today? Is there any aesthetic heritage of that period present in contemporary theatre?
Ivan MEDENICA |
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THOMAS OSTERMEIER
Thomas Ostermeier was born in 1968 in Soltau. From 1992-96 he studied directing at the
Hochschule für Schauspielkunst Ernst Busch, Berlin. In 1993-94 he was assistant director
and actor with Manfred Karge in Weimar and at the Berliner Ensemble. In 1995 he directed Die Unbekannte by Alexander Blok in accordance with Meyerhold’s system of biomechanics.
In 1996 he directed Recherche Faust /Artaud at the bat-Studiotheater Berlin. From 1996-99 Ostermeier was Artistic Director of the Baracke at the Deutsches Theater, Berlin.
Productions there included Fat Men in Skirts by Nicky Silver, Knives in Hens by
David Harrower, Brecht’s Mann ist Mann, Suzuki by Alexej Schipenko, Shopping and Fucking by Mark Ravenhill, Below the Belt by Richard Dresser, The Blue Bird by Maeterlinck.
In 1998 and 1999 Ostermeier directed Disco Pigs by Enda Walsh and Fire Face by Marius von Mayenburg at the Schauspielhaus Hamburg. Since September 1999 Ostermeier is resident director and member of the Artistic Direction of
the Schaubühne. In November 2002 Ostermeier was appointed »artiste associé« for the Festival d’Avignon.Productions at the Schaubühne directed by Thomas Ostermeier: Personenkreis 3.1 by Lars Noren, Gier by Sarah Kane, Parasiten by M. von Mayenburg (World Premiere), Der Name by Jon Fosse, This is a Chair by Caryl Churchill, Danton’s Death by Georg Büchner, Supermarket by Biljana Srbljanoviæ (World Premiere), Better Days by Richard Dresser, Nora by Henrik Ibsen (invited to the Theatertreffen Berlin 2003), Wunschkonzert by Franz Xaver Kroetz, Woyzeck by Georg Büchner, Der Würgeengel by Karst Woudstra, Lulu by Frank Wedekind, Eldorado by M. von Mayenburg (World Premiere), Blasted by Sarah Kane, Hedda Gabler by Henrik Ibsen (invited to the Theatertreffen Berlin, 2006), Mourning Becomes Electra by Eugene O´Neill, A Midsummernight’s Dream by Shakespeare (with C. Macras), Liebe ist nur eine Möglichkeit by Christoph Nußbaumeder, Product by Mark Ravenhill, Cat on a Hot Tin Roof by T. Williams, Room Service by John Murray and Allen Boretz, The City / The Cut by Martin Crimp and Mark Ravenhill (World Premiere). |
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MARK RAVENHILL
Playwright Mark Ravenhill was educated at Bristol University where he studied English and Drama, and worked for the Soho Poly in London. His first piece, a ten-minute dialogue called Fist, was staged at London's Finborough pub theatre venue. Max Stafford-Clark, director of Out of Joint Theatre Company, saw the production and invited Ravenhill to contribute a full-length play. This became Shopping and Fucking, produced by Out Of Joint Theatre Company, opening at the Royal Court Theare, London, in September 1996.
His next play, Faust Is Dead, was produced by the Actor's Touring Company and toured nationally in 1997. It was followed by Handbag in 1998, which won an Evening Standard award, and Some Explicit Polaroids, which opened at the Ambassadors Theatre, London, in November 1999. In 1998, while literary director of Paines Plough, a company started in 1974 to develop new writing, he organised 'Sleeping Around', a collaborative writing project.
Mother Clap's Molly House, set in eighteenth-century London, was first performed in 2001 at the National's Lyttleton Theatre with music by Matthew Scott. His radio play Feed Me was broadcast by BBC Radio 3 in 2000.
Mark Ravenhill lives in North London. Totally Over You (2004), a play which explores the world of instant celebrity. In 2006, four further plays were published: The Cut, Product; Citizenship and Pool (no water).
At the 48th Sterijino pozorje’s Off-programme in 2003, the Yugoslav Drama Theatre performed Shopping&Fucking (Translated by Olivera Milenkoviæ, directed by Iva Miloševiæ). |
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A damaging, precise evening of theatre. Thomas Ostermeier succeeds in evading the seemingly intact defence mechanisms of our self-image.
Gunnar DECKER (Neues Deutschland, 26 March 2008) |
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.The
management preserves the right to change
the schedule
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Copyright
: Sterijino pozorje 1998-2008.
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