The stage proletariat is stuck for “Dirty Laundry”.
Photo: Christoph crocodile
Once, it was a few years ago, I also lived in a so -called flat share. The (west) German left in this form of the house thought the nucleus for an upcoming society, the place where other types of living together can be tried out in this form of the house. Well, you can talk to every special purpose community for reducing housing costs politically.
In my last flat share, there was strong fluctuation and so I lived together with a variety of idiots with university approval. A short -term resident has remembered that he explained that he could not serve the washing machine. It turned out that it did not fail because of the specific model, but that he was fundamentally not familiar with the process of washing and therefore demanded “support”. This has little to do with the principle of solidarity, more with that of the classic division of labor in capitalist societies. With such people, I learned in this phase of my life, is probably not a state to do, especially no socialist.
At the festival »Every Day. Feminist struggles in post-socialist Europe, to which the Hau Berlin has invited, and the artists involved can be assumed from another wealth of experience. And also with the “Dirty Laundry”, a theater work by the Moldovan director and author Nicoleta Esinencu, which was created in this context, you can experience three performers – Artiom Zavadovsky, Doriana Talmazan and Kira Semionov – who can not only do the dirty work with the laundry themselves, but also politically reflected on the subject, singing.
Monoton technoid beats are already in admission. The sound remains the same for the next hundred minutes. Electronic music using loop machines is produced live on stage. Seven tumble drums make their contribution to the soundscape. As the musical experience with this “Trash Opera” is constant, there is so much standstill on stage.
Esinencu relies entirely on the text – between Romanian, English and Russian and consistently overtit. With plenty of energetic excess, they report on those who have to do the dirty work – also for us. As an example, we are shown the perverse character of the existing system based on the exploited people who ensure smooth operation on luxury travel ships. Every now and then the performers switch to slogan mode.
The staging strategy behind it is known, but is by no means ineffective: three struggles to the limits of exhaustion on stage, sweat flows while the audience can follow the hustle and bustle. This is also negotiated in terms of content: some lean back, the other times.
However – this knowledge is not completely new. It is quite exciting if Romanian and Moldova personalities have been forgotten who have fought for another world. Alone, it stays with namedropping.
If the stage is committed to anti -fascism – “I’m sorry to say that, but the anti -fascist resistance largely consisted of communists” – you will hardly be unreservedly agreed. It is certainly not to be overestimated if Moldova, before taking Russia, western sharpeningers already warn with a view of the war treasury, clear words against militarism are found. In general, the concern of the evening is a basic sympathetic. But it doesn’t help: aesthetic the spectacle is awkward, sometimes boring.
Yes, with these three laundry kitchen performances might be a state. But others should take care of the art.
Further performance: 25.3.
www.hebbel-am-ufer.de
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