In Munich, a Theater’s Ambitious New Era Starts Mid-Pandemic

In Munich, a Theater’s Ambitious New Era Starts Mid-Pandemic
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In Munich, a Theater’s Ambitious New Era Starts Mid-Pandemic

In Munich, a Theater’s Bold New Period Begins Mid-Pandemic

Masks had been the one issues worn by the in any other case bare performers in “Habitat/Munich,” a dance piece choreographed by Doris Uhlich on one of many theater’s smaller phases. A dozen Munich locals carry out this hourlong work for an viewers of 40. Supported by techno beats, the dancers discover distancing within the social context of efficiency.

The dancers’ gestures and actions alternate between lyrical and violent, and the result’s each absorbing and tough to observe. Our bodies of varied ages, styles and sizes appear to be revealed in all their energy and vulnerability. Bodily contact is forbidden. Locked of their particular person routines, the dancers seem radically alone.

Within the finale, they crawl into giant plastic luggage. The group of enclosed our bodies convenes within the heart of the stage for a collective embrace that feels extra melancholy than cathartic.

Erwin Aljukic is among the many “Habitat” dancers. An expressive performer with osteoporosis, he usually dances round his wheelchair. Aljukic is a brand new ensemble member, seemingly proof of Mundel’s dedication to creating the theater an inclusive area for in a different way abled performers.

That sentiment is on show in “It’s Me Frank,” a essential stage manufacturing starring Julia Häusermann, a fascinating Swiss actress with Down syndrome. On this hourlong efficiency, Häusermann introduces herself, sings alongside to tacky pop songs, dances and interacts with viewers members. But regardless of her charisma, Nele Jahnke’s video- and music-heavy manufacturing feels slight, with hardly sufficient concepts to maintain its size.

The Kammerspiele’s remaining two premieres counsel continuity with the Lilienthal period, when international theater collectives and authors had been usually invited to work on the home. “The Meeting,” a co-production with the Canadian documentary theater group Porte Parole, can be essentially the most overtly political among the many premieres.

Sitting round a dinner desk, actors reconstruct a political dialogue this 12 months wherein 4 Munich residents debated quite a lot of hot-button points, with Annette Paulmann and Wiebke Puls as moderators.

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