logo pptt

 

“… a whole world
opened to me …”

Preetzer Papiertheatertreffen 2009 by Sarah Peasgood

I make no claim to be an authority on Paper Theatre, rather an avid follower, new performer and keen “student” of this art. Therefore, being a passionate enthusiast and being fortunate enough this year to book many performances, I was asked to write a few words about my experience. I do hope this overview provides an insight to Preetzer Papiertheatertreffen 2009 seen through my eyes.

 

1. Thors Hammer

My first show was on the Friday evening, “Thors Hammer” performed by Ove Johansen and Else Jørgensen of Lodskovens Miniscene, Dänemark. A full house was greeted with a generous introduction by Ove as to the background of the story and an apology as to the language barrier, however he had kindly enlarged the script and mounted on the wall for further explanation later if required.
The play was refreshingly humorous and the brightly coloured figures and sets created a modern feel which kept the attention. I felt the timing was good and comic moments including figures flying across the stage followed by a crash landing was excellent!

2. Die Jungfrau von Orleans

I quickly hurried out of the Volkshochschule and up the road to my second show at 9.30pm, entering the beautiful building housing “Die Jungfrau von Orleans” by Peter Schauerte-Lüke and Sabine Herder of Don Giovanni Käthchen & Co. I was immediately overwhelmed by such a large theatre with dramatic proscenium and curtain and in fact was quite absorbed by the set up whilst waiting for the performance to begin.
I’ve always placed Peter’s work as the “crème de la crème” of this style of Paper Theatre and Die Jungfrau von Orleans was no exception. Although a slightly lengthy performance for me at this time in the evening and despite the problem of language barrier, Peter and Sabine’s dramatic vocals really kept the performance alive for me. Breathtaking scenery with a significant depth of stage with multiple side flaps created a magical illusion in miniature.

Just as I was recovering from this sophisticated performance and having spent quite some time backstage taking in the complexity of Peter’s theatre, I was late meeting my mother who, after a quick puff on a cigarette, rushed me down to the gymnasium …

3. BlutsbrÜder

The only word to describe my next experience was “privileged” …
I unfortunately entered the gym a little late where Marlis Sennewald was just finishing her introduction to “Blutsbrüder” by the Muthesius Kunsthochschule and so I had no idea of what to expect. This was one of the most sensitive, spiritual and moving pieces of performance art I have experienced. The dignity and timing is what overwhelmed me most, particularly in the context of not fully understanding the background or storyline, experiencing the simplicity of the figures and scenery combined with beautiful lighting and powerful voice over; this really was for me an outstanding piece of unique paper theatre which I believe contributed significantly to the Preetz Festival experience this year.

 

I was so inspired by both the performance and through passionate English translated discussions afterwards over Karl Friedrich May, I felt I should know more. So I researched for my own benefit and happened to come across this interesting extract by Karl May himself, written about a Puppet Theatre, courtesy of the website of Karl May Museum, Radebeul near Dresden:
“Now came the day in which a world opened to me, that never let me go loose again. The theater arrived. Even if only a quite ordinary, miserable puppet show, but nevertheless a theater. They performed in master weaver’s house. The best places were three pennies, than two pennies, and the next one penny, children paid half. I was allowed to attend with my grandmother. This cost us fifteen Pfennigs for both of us. They performed: ‘The Miller's Rose or the Battle at Jena.’ My eyes burned; I was glowing inside. Puppets, puppets, puppets! However for me they were alive.” [My Life and Aspirations, p.55.]

 

4. Das grÖsste RÄtsel

Saturday and wow … my head was full already after Fridays experiences and I still had many more performances to see. My first Saturday performance was “Das größte Rätsel” by Per Brink Abrahamsen & Søren Mortensen of Svalegangens Dukketeater, Dänemark.
Always a packed house for Per Brink, I was keen to get a good view and experience this contemporary storyline and photographic “real-life” scenic imagery so I managed to wedge myself centrally on the table at the back of the room – perfect! The 3-D effect and perspective of scenery using photographs of real objects and backdrops did not disappoint; the excellent sound effects and intriguing plot kept me interested and made a refreshing change compared to the traditional Paper Plays.

5. Der kleine Klaus und der grosse Klaus

Following this contemporary performance I returned to traditional paper Theatre to see “Der kleine Klaus und der große Klaus” performed by Ab und Mantas Vissers of Phoenix Papieren Theater, Niederlande.
It was encouraging to see Mantus performing with his father as, having supported my parents on several occasions, I could empathise with his keeness to be involved with Paper Theatre and support the family tradition.
The play was immaculately performed with dramatic voices and smooth operation; the figures and scenery were beautiful and a delight to the eye.

6. Die Abenteuer des Tom Sawyer

After happily consuming what can only be described as a superb Italian feast at the Amadeus Restaurant – organised for the first time this year on a ticket basis –, accessible to all it was an excellent idea and allowed both performers and supporters to mingle and enthuse during the lunchtime period between shows; I trotted back across the road to see Jens & Pauline Schröder’s “Die Abenteuer des Tom Sawyer” by Bode’s Koffertheater from Bremen.
The audience was focused immediately upon the authentic picture frame proscenium supported by Gerhard Bodes symbolic suitcase and the beautifully lit Novel of “The Adventures of Tom Sawyer” positioned centrally within the frame captured the imagination.
The play was performed at a steady pace but what enthused me particularly was the clever re-use of pieces of scenery and stage flooring across several scenes throughout the play. The figures and overall effect were charming and the upbeat American songs during scene changes supported the Mississippi theme and certainly raised a smile.

7. Die Pilgerreise nach Westen

The first Saturday evening performance I was to experience was the beautiful visual of “Die Pilgerreise nach Westen” by Motoko, Horst, Maria und Bärbel Römer of Römers Privattheater. We were all offered a Chinese fortune cookie as we entered the room and needless to say mine read very true indeed : “Don’t work too hard …!!”
A colourful fast paced performance with strong brightly coloured visuals was exciting to see. The colourful figures had a strong impact against the black backdrop and clever character transformations used paper theatre to its full potential.

8. Ear/Nose/Throat

The last show of the day was “Ear/Nose/Throat” from the Xenographic Society performed by Andreas Kahre and David Garfinkle from Canada. I was intrigued by the storyline an d the “interdisciplinary” style in which Andreas had designed the show.
Again the use of real life figures photographed and enlarged worked well and were unique in the fact they were printed in black and white. The performance was dominated by a dialogue eloquently and professionally delivered by Andreas and David and since I was fortunate enough to attend the English performance I had a good understanding of the subtleties and sophistication of a very clever commentary.

9. Konrad und Konstanze

Refreshed for the final day, I squeezed in at the back of room to see Dirk & Barbara Reimer’s “Konrad und Konstanze” of Papiertheater Pollidor fame.
Dirk was kind enough to provide a synopsis of the twists and turns of this Shakespearean style comedic play to me the day before, again to avoid missing the sense of the story due my poor language skills. I gazed at the lovely proscenium designed and drawn by Barbara before the curtain rose, which was very familiar to me as I have one at home fronting my Danish theatre.
A fast paced drama involving traditional turning figures, a horizontal moving backdrop with exciting and passionate vocals from behind stage (the only true way to perform traditional theatre …). The music during scene changes was wonderful and created an atmosphere of its own and the appearance of Mark Twain on stage at the end of the performance providing a novelty which worked successfully.

10. The Maid and the Magpie

The penultimate performance was Joe Gladwin’s “The Maid and the Magpie” of Paperplays Puppet Theatre. I always look forward to Joe’s most entertaining, interesting and polished performances and this was no exception.
Joe had brought along the smallest Paper Theatre I have seen at Preetz having admitted the reason being was purely from a mobility point of view (flying imparts limitations); but the way in which it was presented perfectly perched on a pedestal and lit by candles really brought out the magic of the colouring and atmosphere of English Parlour Theatre.
The pause half way through the performance to aid visibility of the “said Magpie” using a hand held magnifying glass was ingenious and comic, adding to an entertaining fast paced play performed in a true English Toy Theatre style.

11. Down at the Palmcourt Something Stirred

“Last but not least” was the great Robert Poulter of New Model Theatre performing a double set piece: “Down at the Palmcourt Something Stirred” followed by two short shows featuring English music hall stars of the early 20th century: “I’m Henry VIII” (about Harry Champion) and “Sing-Sing” (about George Robey).
Experiencing Roberts plays is always a visual treat and having placed myself centrally on the front row I could absorb fully Roberts expert and rapid operation of moving pieces of original graphic artwork.
The “Palmcourt …” was an upbeat, rhythmic combination of humour and strong visuals within a surreal airship setting. Mounted examples of Roberts sketches and prints added to this unique artistic experience. What was to follow was a refreshing surprise and for me an education into the context and meaning of old English music hall songs sung by infamous names.

 

To capture the Paper Theatre experience at its most varied, professional, interesting and passionate one must experience Preetzer Papiertheatrertreffen as so much can be seen “on one stage” over a matter of only a few days. The 2008 festival was certainly the turning point and inspiration for my move into solo Paper Theatre performances and if I may be so bold as to quote Karl May, “… now came a day in which a whole world opened to me …”
I never looked back and 2009 was no exception.

 

<<< zurück <<<

Top | Home | Impressum & DatenschutzerklÄrung