The Grips-Theater staged shows the great symbolic but highly problematic animal fable called "The better woods."
There must be a true paradise, to the breaking open the wolf family there. "Countless sheep in the meadows and the wild pigs are so fat, we can hardly eat it enough," the father of his love makes your mouth water. Unfortunately, both he and the mother shot to death on the road. The little wolf boy who is left an orphan, it does open up to their new home, where sheep graze in fact abound. However, none of which he eats. But the contrary is adopted by a couple with fertility gemischtwolligen. The white and black Frauke Vanya son Ferdinand as their peers move on, as a wolf in sheep's clothing.
Sure occasionally breaks out of the boy nor the nature, karen millen
if he as a birthday gift growling open with his teeth. But apart from that he is growing up in the gated community to excellent pasture citizen who behaved internalized the grandfather doctrine: "Sheep are true and cowardly of us can not build a church." And there, nobody sings better, the "sheep Maria" as Ferdinand the wolf, the lamb of God worships.
"The better woods" is a piece by Martin Baltscheit that sees itself as a "comic parable." Robert Neumann brought the story of the unincorporated outsiders Grips Klosterstra?e the premiere, and his production may be only in showing respect. The actor has already with the "Big Deal?" Proved that he has directed talent. Here he relies on simple, made visible means of theater: the stage of Max Julian Otto is nearly empty, the five players - take the energy out of the hustle and bustle as Ferdinand Florian all the multiple roles - only hatch at once in sheep sweater or jacket wolf. Props unceremoniously taken from the edge. And who is not in the scene, sits next to the playing field and ensures,karen millen dresses
for example over the microphone for blizzard atmosphere. An access to pace and charm of the animals.
Anyway: The only piece of history does Baltscheit not bad. It has a lot of wit and beautiful poetic ideas, about the old wives' tale of the sheep babies falling from the sky as snow flakes. What hero Ferdinand, however, can not long believed. Which comes into puberty, becomes friends with the coarse-frivolous to Beck (class: Ensemble Jumin newcomer Paul Hoffmann) and falls in love with Melanie sheep (rousing Jennifer Breitrück). The spurs him on to dare her to jump over the fence along the gated community and the softie dogma to forget about his sheep worried parents (Alessa Kordeck and Rene Schubert). So the young lovers actually land in the Red Light District unbehüteten of life, where beer and wait dance and fun. And, clearly lurking dangers. Ferdie is by the encounter with a hungry wolf who recognizes him as a false sheep plunged into an identity crisis. And Melanie does not survive the trip. They are found killed - more precisely, karen millen outlet
torn - on the field. Is suspected of murder arrested and Ferdinand.
Well. If the two have remained more obedient at home. Or not? Here's is already difficult with morality. The piece is played great, great implementation. But once you start to shine through the symbolism of the author, the problems begin.
"The better woods" was honored in 2010 with the German Youth Theatre Prize, the jury spoke of "complex interpretive possibilities." And there was that one could "read as a brand new commentary on the debate about immigration and integration in Germany and Europe", the text also. Better not! Identity and nature are social constructs, alright. But how to take the piece at his word? Maybe like this: We must not be afraid of immigrants, even if they come as wolves in sheep's clothing, then they can learn to suppress their bloodlust through education and better than we ourselves are vegetarians? Multi-layered interpretations.
With Ferdinand, it will end badly. He tries to join a wolf pack, there is also ejected. His peers do not exist. Finally, he draws two types over the country, whose asylum application was rejected: a bear who thinks he's a bee, and a goose who thinks she is a fox. Author Baltscheit balance reads: "It does not matter where you're from, it depends on where you are going and with whom." Would have more of this clarity is not harmed.
Shout from the band: The premiere of the State Opera Festival director Andrea Breth has the idea of ??using "Lulu" set in a junkyard as an installation with a loud undead scene in vorbeigestikulieren stupid stupid choreography together.
Well did you know it just made cozy with Alban Berg's "Lulu", karen millen outlet
the last of all last romantic operas, which was as eloquent fragment, when the composer died in 1935 on the instrumentation of the third act. It was with her two-act torso already satisfied, had become accustomed to Friedrich Cerha leather complete the third act (premiered in 1979 in Paris, a world event) and loved the Lulu Suite, which the conductor Erich Kleiber still end 1934 with a howl of protest of the Nazis Berlin from the baptism lifted. Apart from the fact that the two-act version is always a bit short and the three-act - especially in Paris image - always a bit boring, no action seemed to exist.
The first saw this conductor Eberhard Kloke different. He snatched the third act of 2010 for Stefan Herheims Copenhagen staging and redeemed him from his symphonic double cream, and dizzy as he orchestrated the singers declaim often just left. David Robert Coleman on him now follows at the Berlin State Opera, and his thrust would be the same. However whets Coleman decided the knife: The Paris-image disappears altogether, the prologue of the tamer ("Come on ...") for reasons of proportion and symmetry also, karen millen dresses
so that you end up smaller domestic cuts, including, at a practical running time of two and a half hours lands.
Coleman is firmly committed to the State Opera, the order for a new treatment of "Lulu" he received in the fall. Even for a mountain-specialists like him ample time no budget (which was the elimination of the Paris-image part of the contract, which increases not just the artistic freedom). And so this is a clean version of Berlin Kapellmeister ROYAL circuit training beyond barely. Strangely, it is just the exotic instruments in the remaining London-image of the third act (banjo, guitar, marimba, bells, xylophone), karen millen
which reinforces this impression. That sounds more like a break in style than to gutter, more dutifully than urban-wicked and trivializes not only the events but also their own feelings. If Jack the Ripper aka Dr. Sch?n poor Lulu finally pours gasoline and pulls out a lighter, you have to be downright hochrappeln to witness this end. Because "Lulu" is not just romantic opera yet? Because of Expressionism, it was never any different?
The idiomatic, strict form of love but of this score, Daniel Barenboim does not matter. In the strings of his Staatskapelle you probably would like to sink, drown, so finely tuned and sweet at the same time, they model the legendary interludes: A Grave, as if it were the young Gustav Mahler, as variations from the pen of the late Richard Strauss. Only mountain itself is not quite to the fore because Barenboim much rather think in sound than in numbers, and over every rhetorical Sculpted hinwegdirigiert principle. Even so heart touching Rondo as Alwa 'soul in the afterlife rubs the sleep from his eyes "fizzles, and otherwise it is issued to the melodrama of the old Schigolch in the second act (" Gee, little Lulu "). The rest is like something out loud.
The music may also Unkonturierte of singers such as Thomas Piffka (Alwa), Jürgen Linn (Schigolch) or Stephan Rügamer (painter / Black) are having in front of their games simply have too much respect. What pleasure can make twelve-tone music, show the great, inside burning Michael Volle as Dr. Sch?n, Georg Nigl articulating a pinpoint accurate athlete and Deborah Polaski Countess Countess, which is sufficient in fact, if she sits with a white full head bandage on the ramp - ready Lulu, who is also forfeited her to go to jail.
Lulu is Mojca Erdmann: a doll, not a termagant; an innocent angel, not a murderous monster forming. A woman with no history and sex, the perfect foil for the desires of others, young and very cold and empty. Unfortunately, this is also vocally, as more than a few kids trumpet sounds Erdmann not know her kreidefarbenem soprano out of it. The emphasis ("Freedom!"), She remains anemic, at the height rapidly pressed, in the end ("No, no!") Not involved, and the death-cry comes from the band anyway. Probably wanted Andrea Breth, the director, not everything is different. Artists like her - she has the bravura "Wozzeck" was shown in 2011 - live from the "magic relationship" between the people and characters. How Breth has now fallen to the idea of ??using "Lulu" set in the ash-gray ambience of a car cemetery (stage Erich Wonder) as a kind of installation in a loud undead scene vorbeigestikulieren stupid in dumb choreography together - that remains the great mystery and scandal this year's festive season premiere. Cheers and boos.
Hertha lost 1-4 at home against Wolfsburg. Because Wolfsburg mercilessly exploited his opportunities and let her lie in rows in Berlin.
After twelve minutes, it was very lonely at Rehhagel. Far and wide no more familiar faces, the coach of Hertha BSC was left completely on his bench, left and right only seats available. Before him, meanwhile, raged the madness. The new players, the coaching staff and all the rest, they celebrated the opening goal of the Berlin Bundesliga soccer against VfL Wolfsburg. In contrast, karen millen
a 1:0 Rehhagel is no reason to lose his composure. And for good reason. The Berlin were subject to the Wolfsburg at the end of 1:4 (1:2). "When you see the result, is deceptive, of course," said VfL coach Felix Magath.
Hertha offered a convincing fighting spirit, earned himself a lot of opportunities - presented himself at the gate but rarely botched. For the first time in eleven years, once a home game against Wolfsburg ended with a home defeat to Hertha.
"We are in a threatening situation," said Rehhagel, "but we give up the struggle." The Berlin abide by the defeat on the second from bottom, jumping to 15th place has grown to four points, after all, the relegation place is still in reach. Rehhagel said after the game, the fact that it now should be no recriminations, "one must be careful in his choice of words."karen millen dresses
This Hertha's players had no problem. They said rather have nothing at all. No one spoke in front of the journalists who sneaked silently through the losers, the mixed zone. Even manager Michael Preetz did what he does after a defeat like. He emerged from simple.
Here, the evening had begun very promising for the Berliners. The team that played in exactly the same formation as a week ago when victory in Mainz, began with fervor. Of the pressure that had built up the competitors Freiburg, Augsburg and Hamburg, with its victories in the afternoon, little could be felt. Hertha took the relegation battle. Even before the 1-0 was the home team in front of 46 388 spectators at Olympic Stadium is an excellent opportunity for leadership. After a misunderstanding of the Wolfsburg defender Ricardo Rodriguez and Felipe went to Raphael alone at the gate of VfL. His shot went just wide of the post. That the Wolfsburg Hertha are something like favorite opponent was in the beginning to look good, a class difference could not be recognized.
Even with the extremely high-back four of the guests came to Berlin to order. Although she ran a few times to the sidelines, but often the face-offs came in the top at the right time. This is also against the 1-0, as was taking off from the depths Nikita Rukavytsya operated perfectly. The shot of the Australian held off the strong Wolfsburg goalkeeper Diego Benaglio yet, karen millen outlet
Levan Kobiashvili but reacted faster than VfL defender Marco Russ and turned the ball over the line.
Among the guests who had after all won the three previous games had previously been little to see. Hertha goalkeeper Thomas had a power in itself dangerous header from Patrick Helmes from a tight angle nearly steered into the goal. His colleague Christoph Janker was not quite so lucky. From its foot a handing in of the former Berliner Ashkan Dejagah jumped to 1:1 into the goal. This matches every confidence in the people of Berlin had lost only once. Just five minutes later, the Wolfsburg had turned the game. Mario Mandzukic has an edge ball from Marcel Sch?fer in Berlin take the penalty area unchallenged with his chest, he played free Dejagah, and the handing in Patrick Helmes drove to the Wolfsburg 2-1 on the line.
Hertha had before the break a good opportunity: Benaglio but cleared prior to the precise cross from Adrian Ramos Rukavytsya. The second half Rehhagel sent to Pierre-Michel Lasogga a second striker on the field. For him, left-back Felix Bastians remained in the cabin, moved back into the Kobiashvili back four, Raphael into defensive midfield. The Berliners had gathered in the break again, they started the second half with renewed vigor: ?nis Ben-Hatira failed to Benaglio, as Roman Hubnik, of the six yard box was completely free to the header, Lasogga was after handing in the first post in the last moment blocked.
The Wolfsburg fell into this phase of an embarrassment to the next, they lost ball in midfield for ball - and then came with almost every pass into the deep in trouble. Hertha had against VfL as many opportunities as well have never been this low on scoring opportunities of season, but did not use it.
It was almost like an internal competition: Whoever manages to give away the best chance? In the shortlist: Pierre-Michel Lasogga, with the ball after an hour of free-standing six meters past the gate shot. In addition, Adrian Ramos, who ran alone from the center line on the Wolfsburg goal and for some reason before the penalty area went away, though far and wide, was not near Wolfsburg. And once again, Ramos with his header from four yards out the bar.
As it goes, the Wolfsburg showed a good fifteen minutes before the end, when Mandzukic scored with the first shot on goal in the second half of the 3-1. Four minutes later, Patrick Helmes with his second goal at 4-1. Plug it were brutal beatings, Hertha had to battle against relegation can really hurt sometimes. "We must now build each other again," said Otto Rehhagel. "Especially nervous." There have been lighter exercises.