State violence severely punishes the individual for betrayal of secrets; – the incapacity of the individual and his susceptibility to corruption in a terrorist state built on violence; But also the power of human solidarity and cohesion in the face of horrific global events: FIND 2022 Berlin Schaubony offers a mixture of initially global theater not seen on the Berlin stage for a long time. Each year, the festival dedicated to new international drama in Berlin Schaubuhn looks beyond the horizon of the German-language theater scene. Production businesses from the United States, Chile and Canada, dedicated to “The Americas,” have been invited to perform guest performances at the 2022 edition.
“Is this a room”: a play of state violence
The director works in New York on documentaries Tina Satter. I picked it up in production Is this a room With her group Half Straddle a typical case of whistleblowing: Air Force 20th Reality Award winner leaked17 A top-secret NSA document proving Russian interference in the 2016 US election. During drone missions in Afghanistan, she did translations and helped set targets. Despite her language skills in Dari, Farsi, and Pashto, twenty people have so far come forward to no avail. to post them on the site. She was stuck in the office, preferring to provide humanitarian assistance. These potential Winners’ motivations play only a marginal role in the production: Director Tina Satter uses a recording of the interrogation that took place on June 3, 2017 at Reality Winner’s house as a script. Two FBI agents suddenly stand in front of her when she comes home with groceries – the actress carries only a narrow backpack in the production Catherine Roman, who looks very young and especially in short jeans and a T-shirt. With no prop realism, Parker Lutz Theater is simple: a white podium-like playing surface with the audience seated on two sides.
The play of state violence against an individual unfolds in this white space. It is perfidious for FBI agents to manipulate their superior position. Initially professionally friendly, their game of good cop (Pete Simpson), who pacifies an increasingly convicted delinquent, and bad cop (Will Cups), who searches the house with a difficult expression, pushing for answers.
Meticulously psychological work is how Reality Winner stays cooperative and tries to maintain composure beyond the limits of what can be tolerated for them. “Oh, yeah,” she says almost eagerly at the suggestion of two FBI agents that their dog be locked up in the kennel—an animal that has been rescued and just returned to the yard. There is also a cat in the house, and the two animals share their panic fears when the young woman realizes that her previous life will be over during the interrogation period. Her voice almost broke, a slight trembling and slouching creeping into her body language Catherine RomanWhen you think it’s not being monitored. At the end is an audio recording in which Reality Winner sums up her sentence: five years for treason. In 2021, she was released early for good behavior, and since then, Reality Winner has been released under house arrest. Is this a room It is a moral portrait not only of the Trump era and the United States as a global power, which ruthlessly pursues internal enemies such as Edward Snowden, Chelsea Manning or Realty Winner and segregates them into the sanctions regime.
“Oasis de la Impunidad: A lesson for reality
allow in this room An individual smashed by the offers of state power Oasis de la Emponidad Highly stylized by Marco Laira and Teatro La Re-sentida from Santiago de Chile, a totally violent brutal society. Nine actors in identical costumes walk across the gold-colored stage floor like a remote-controlled zombie unit – abusing each other with abstract, unbearable cruelty. Whistle – they are in each other’s throat, pulling their hair. Whistle – they left each other, and walked in terrible unison. Thus: a pop song follows a pop song, an act of violence after an act of violence. Corpses fled, victims sneered, mouths twisted into rigid smiles. It is inevitable to associate torture when Lucas Carter He stands naked in front of the audience in Schaubühne’s studio and first pulls the skin off his face with pliers and then breaks the teeth out of his mouth. When the procedure is over, he extends his arms in the air like Bunny Bobby with a painfully twisted face. Survived: The connection to the violent protests in Chile in 2019 and 2020 is there Oasis de la Emponidad clearly. As an abstract series of atrocities, the Chilean guest performance points to every unjust system in the present and in the past.
What does that have to do with us? Marco Layera and La Re-sentida find an obvious answer in the last scenes. Carolina de la Maza The star of a mother cries uncontrollably as five cruel horror dolls in velvet dresses carry a child’s coffin. Naturally, not flowery, she plays with tears – it is difficult for viewers of the German theater, not inclined to pity, to bear. But Marco Laira, who actually worked at Schaubühne and may know the local sensibilities, turns the sense of distance against us: Carolina de la Mazacharacter s is summarily killed, undressed, Lucas Carter He throws it on his shoulder and carries it through row 3 to an empty seat where he drops it like a piece of meat on the seat. She bows her head towards the person sitting next to her. Carolina de la Maza Levi’s body does not move, remaining entirely in the depiction of the corpse, which is now stagnant between us and the satiated Schwabühne visitors: inside.
Spotlight ruthlessly focuses on the naked woman in Row 3, who was given a shawl as an excuse. And according to the audio recording, “Today no law has been passed here,” neither of us finished watching the party in this oasis of impunity. Yes, once again we did not move as the horrific scenes unfolded before our eyes. (Photos from Bucha will be announced during FIND’s opening weekend.) Reality theater teaches a lesson – a powerful and tingling setting by Marco Layera and Teatro Le Re-sentida.
“Seven streams of the river Ota”Theatrical storytelling perfectly
They almost look like l’art pour l’art Seven Streams of the River Otaa monumental work by Canadian director Robert LePage, the artist focused on FIND 2022. It premiered in 1996, and the seven-hour epic was revived in 2019 — and from today’s perspective, it has been revived. Seven Streams of the River Ota In terms of intensity and narrative complexity, it anticipates what a Netflix mini-series will look like. The narrative, which spans decades and intertwines with the entire character over seven episodes, begins in Hiroshima, Japan. American soldier Luke O’Connor (Christian Icimber), who depicts the damage caused by the atomic bomb, meets survivor Nozomi (Miriam LeBlanc), whose face was damaged by the explosion. She would like him to take a picture of her funeral. The encounter results in a love affair that produces a child: Jeffrey (Umehiko Miya) bears the same name as his brother (Christian Icimber) in faraway New York.
On the porch and in the rooms of a traditional Japanese wooden house, the first part, “Motion Pictures”, shows the tender approach of Luke and Nozomi. In the second part, “Two Jeffreys,” the two brothers meet in a New York apartment building, whose filthy rooms are depicted in a very realistic style and are pushed into the log house. A riot after being caught in the shared bathroom, while Japanese Jeffrey practices double bass and American Jeffrey takes care of his leukemia-stricken father. Jeffrey To will never meet his father, but he will leave a mark of appreciation for his brother when he returns to Japan. A brotherly closeness apparently develops from this: In episode four, “A Wedding,” Geoffrey Zoe and his sister Hanako attend suicide with the help of his AIDS-stricken brother in Amsterdam. Geoffrey Ainz married Ada so that he could legally end his life as a Dutch citizen. Ada’s son, in turn, lived as a guest house with Hanako in Hiroshima years later when he was studying buto.
Every story in Seven Streams of the River Ota Carefully crafted, every detail makes sense as the story unfolds. Oddly enough, this narrative principle of perfection culminates in episode five, “The Mirror.” Here, the artist’s Theresienstadt concentration camp barracks and later Zen nun Jana Čapek appear behind a mirrored wall. An ornate wardrobe of horrific memories, in which the actors wear contemporary dresses, suits, coats and hats, they carry out the rescue of Jana – presumably in the mirror box of wizard Maurice, who conjures her first in a camp performance and then in his chest before the deadly carriage disappears.
This incident, which theatrically contrasts with the events of historical events and calls for hope, humanity and joy despite the worst of circumstances, has a trivial effect. Does everything have a purpose? A soothing message that moves the individual from the realm of social resistance to a private realm of personal cohesion.
Solitude, Collusion, and Participation in Larger Contexts: The three opening productions from the US, Chile and Canada at FIND each depict their own relationship between the individual and society—a breath of fresh air both aesthetically and in terms of content.
New International Drama Festival (FIND) Schaubühne am Lehniner Platz, Berlin