“What do we see from each other?” Ernst Toller asks in 1921 in a prison of the Nethershenfeld fortress in Bavar. “I see a few steps and hear a few words.” Great 29. It is an outstanding political prisoner. In the spring of 1919, he was the leading head of the Republic of Munich. “We see nothing from each other. We do not know anything about each other, ”writes a former warlord of war.
The playwright wrote with the “Hincemann” three years after the end of the First World War, which describes the empathetic reality and mental needs of the World War. Evgen Hinkemann, like him for 29 years, was a factory worker before the war and happily married. He lost his floor from a gunshot wound. Great shows a person who, thanks to this enormous intervention in his self -esteem as a person, goes through a wonderful process of awareness, and in what he pronounces, can be considered as alternative boards for the ego.
In the second act of the play, Hinkeman sits in a pub and continues to throw his philosophical thoughts into a political discussion. Director Ann Lenk leaves the Tollers drama at one time and at the same time connected it with our presence. A simple search for Toller’s language is preserved as a product of your time, and also develops huge linguistic force more than a hundred years later.
The daily headlines of the early 1920s, which have mastered a whole scene in the Hinkmann, are projected onto the red curtain in the middle of the stage and mixed with today’s news.
“Hinkemann” at the Doyses Theater Berlin. Again 30, 7, 16, 19 and 31 years.
Costumes are developing
Daniela Selig’s costumes are developing. In the first scenes, they are still completely arrested during the drama, but then divided and associated with elements of modern fashion trends. Loren Handin, like Greta Hincemann, exchanges his blouse for a top without a stomach. Additional colors green and red dominate the big stage of the German theater in Berlin.
Before a huge deep -sea curtain are green boxes, which have too deep doors, the floors of which are down the slope and in which actresses can simply turn around. These boxes work as a visual burning glass from an unreliable life position of a large part of the population of the then, which receives a vote in Hincemanne.
“If you do not have the strength in a dream, you have no strength to live.” This implementation puts great leaders from his time as knowledge. The costumes of Moritz Keyenemann and Lorena Handshin distinguish all the green tones, in the philosophy of the kitchen the color of hope. In the first stage, you are united with a green kitchen box. But then Evgen Hinkemann must go into the enemy world, the lonely Moritz Kinemann stands in front of the red curtain, in front of him is the vastness of an empty scene.
The owner of the omnipotent kiosk (Jonas Hien) with his black phallopo -like vehicle almost passes and calls him, which, if he no longer can sexually satisfy his wife, at least wants to introduce a worsening work to improve her unstable life situation. Meanwhile, his wife begins an affair with her friend. With honors, there is an autopsy with the suicide of Greta, Ann Lenk and her team, a temporary happy ending, let’s say, his Hincemanne: “The woman loved his soul.”
Multilayer pain
Ann Lenk and Moritz Kyenomn take Hinkemann 100 %. As Hincemann, Kenemann is an energetic epicenter of the production. From the first moment when a light boiler dissects it and falls in a box, like insects, this physical and mentally wounded dramatic figure is engraved in movement and voice. The multilayer pain of Hinceman leads to nuanced fragility, which comes from the deep inner part. Like Kinman, “Laughs!” And his Hincemann says: “Laughs at me!”, The hall is a quiet time that hurts, the pain is so tangible.
At the same time, Kinemann, with his soft physics and his sonorous voice, is created for this figure. It seems that Tollers Hinkemann was waiting for this actor. What is created on the stage is one of the rare common symbols between the figure and the actor. This Hinkemann will go to the history of the theater.