you mean X 1983-0406-4965-1 or W 1972-0701-1840-1. You use Dating Apps and spy Tools, control Software, and cameras, and even then, if you talk of love, always alone. With Corona-Isolation, Lockdown and quarantine but Je te regarde has to do “” the Romanian-French playwright Alexandra Badea nothing. For the first time, anyway. The piece, 2015 in Freiburg, premiered, actually this would fit to a time, which deals with the abolition of the heroes, and with the influence of the Digital on our lives and Actions. Finally, it comes to four “Users” to describe boxes in a stream of mono, like you, with the help of a mass of digital means, a life almost beyond the physical life. Full of longing, but without touching.
by Eva-Maria Magel
culture editor in the Rhein-Main-Zeitung.
F. A. Z. Twitter
this is how you should imagine that, if the theatre, the lives of close interaction, suddenly goes only on distance: Full of yearning, but without touching. The three dancers Kirill Berezovski, Tatiana Diara and Charlotte Petersen and the four cast members of the “User” Ulrike Fischer, Edda car and driver, Béla Milan Uhrlau, and Robert Lang had to always be careful again that you are complying with the distances. But you have “Je te regarde” contrary to expectations, however, on the stage of the state theatre of Darmstadt brought – or, rather, It is Barish has become Karademirs first Film.
Lockdown suitable for the piece
Since the protagonists were all in a self-chosen Isolation in Cyberspace, have it offered to associate a Form with it – “we do that even,” said Karademir, it did not fit to the circumstances of the time and in the Theater-to-date questions. To work in its interdisciplinary nature, it fits anyway: The Heidelberg-born and raised mid-thirties was a dancer before he moved on to a study of the literature, into directing. He had always thought in pictures, he says Dancing is not enough for him simply. In his productions, dance, drama and video art merge.
That he would take the plunge in a film project, was not provided. Shocked and perplexed, how many freelance colleagues, was also Karademir, when the Lockdown came. Now he sees himself as a downright privileged: The production runs, other directed orders, which he had planned, as the free light games in Telfs in Tirol, now.
“What it does to us, if the proximity is gone?”
The author Badea himself, who knows Karademir, have drawn the Parallel of your piece to the Corona-insulation and it is considered ideal for a digital version considered, says Oliver Brunner. The Darmstadt-based theatre Director, who was previously in Augsburg, knew Karademirs Work, since the Berliner-by-choice is often in Bavaria, in Nürnberg, Ingolstadt and Fürth about. After the publisher was convinced, could Karademir for something else Darmstadt debut throughout the month of may samples, and rotate. “The stage for the Kammerspiele was not built for happiness,” says Brunner. Because now the project has moved into the Small house. There distance rules can be complied with better, even more because now, in addition, three camera people moved around the performers.
As you do, in turn, is part of the finished film: He wanted to make “the process, the Making of a part of the staging,” said Karademir. The Mount, which can be seen between steps to, at the same time, he has found that he can omit all of the Transitions, which requires a stage work, and now – thanks to the cuts. “What it does to us, if the proximity is gone?” – the question was to “Je te regarde,” Yes. Now she takes the theatre itself, which has changed a lot in the Film. Proximity, smells, sounds, language, movement for Karademir in the work of the theater, the emotions, he says, would have to show the Film differently, and cause. Among other things, was shot in an empty Frankfurt airport – an airport plays a key role at the end of the piece.
That all of a sudden, different than usual at the Theater, everything is created at the same time, sound, light, Text, dance, was “learning-by-doing,” said Karademir. Exciting, challenging, but also very rewarding. With the Team and the theatre have worked fine. “All trades have these pilots, and then under the Corona conditions, the excellently mastered”, also praises Brunner. A video designer had Karademir anyway, the camera man, Norbert gold hammer, he already knew.
Lower costs were incurred for the professional camera people and the associated cut, says Brunner. With “Seymour” has the first of the three in Darmstadt incurred by the Theater-film projects already in the 18. June Premiere. Prototypes, says Brunner, don’t be, “because such formats are our daily business”. But it could be, maybe. “Je te regarde” is built so that it is also in front of an audience to play, there should be in the next season, there is still space for it. Then he need another two weeks of samples, said Karademir. It could also be a combination of Film and Live Acts, Brunner said. His motto for the next few months: “don’t whine, but rather to examine and deal with what is going on.” With plenty of time for discussions. Parallel production for stage and Film, he looks to be a definite Option for the future. A classic in the autumn, will certainly have a basic room as a Blue Screen.
