English

My Week #33, Apr 14th – 20th

what I saw

Common Ground by Yael Ronen and Company at Maxim Gorki. The 30th show/performance I’ve seen this year! Common Ground is – in my opinion – this strongest of the three company-productions I’ve seen under the ‘supervision’ of Yael Ronen.

Sarg Niemals Nie – a rather German performance of contemporary musical theatre. It is funny, a very German sense of humour and I had fun although I had some trouble with my ticket beforehand and I was hungry and had a headache (all these cliché girls stuff…)

what I read    
I actually read the novel The Bridges of Madison County and – oh boy! – weird. But a quick and easy read on a Sunday….

Heiner Müller’s Hamletmaschine which I’ll read again after I read the original Shakespeare Hamlet once again.

what I listened to
The recording of The Bridges of Madison County was released digitally last Tuesday and that was it. I’m literally glued to everything that actually plays music, it’s playing non stop. (exept for working and workign out in fitness classes and stuff) Just for a mere 20 minutes or so it was interrupted by the Beautiful recording.

what I did
I met a lovely friend whom I haven’t seen in a while and we had extravagant hot chocolate and a great talk about (musical) theatre and Germany.

Actually I had a pretty great time with other people in general – I tend to enjoy the company of others more in springtime.

 

What did you do?

Are you curious and can’t wait for my posts to see what I thoughts of the shows I saw? On the Theaterkind facebook page I posted pics of the ticket stubs with small thoughts for every show I saw – head over there and check it out!

Have a great new week starting tomorrow!

My Week #32, Apr 7th – 13th

what I saw
Martin Nachbar’s reconstruction-reenactment-lecture-performance-mash-up Urheben Aufheben at Sophiensaele – including a pre-show lecture held by the woman who graded my BA thesis last year…

the last performance of Xerxes at Komische Oper Berlin (at least for this and the next season) – although it was marked as sold out we scored great tickets at the box office rush.

She She Pop’s latest performance Frühlingsopfer in which they are performing with their mothers.

what I read    
not as much as I would have liked to be reading, but I bought books I need for my admission exam in May.

what I listened to
the concept recording of Frank Wildhorn’s Artus – Excalibur which I’m going to see in St. Gallen next month, the Beautiful OBCR (especially You’ve Got a Friend, I Feel the Earth Move and Beautiful) and when I found a website where you could get sneak peeks of the gorgeous recording of The Bridges of Madison County – and that was actually the end of a weekend not listening to music. 😉

what I did
I brought home not only the things I bought in NYC and a bunch of playbills, but also a cold – so once the cold got started I was mostly hanging around listening to music. I also took a placement exam for an English class at university and then applied to said class and got into “Advanced English for Academic Professionals 1a” – weird name, but it starts next week and I’m excited, because I kind of enjoy taking language classes with high levels (I really don’t seem to enjoy beginners’ classes – I remember failing miserably in learning Russian….). For the weekend my loveliest of all former co-workers (from university) came to Berlin for a visit. We had a ball seeing Xerxes together! Plus I spend the Saturday with two other very dear friends. (note: as soon as my cold wore off I had a rather good time.)

 

What did you do?

Are you curious and can’t wait for my posts to see what I thoughts of the shows I saw? On the Theaterkind facebook page I posted pics of the ticket stubs with small thoughts for every show I saw – head over there and check it out!

Have a great new week starting tomorrow!

Hebrew Confession pt II

Since my Bachelor’s thesis is gonna deal with identification and building identities in two different theatrical contexts with performers from the Middle East (to be precice Iran, Israel, Palestine and – not very Middle Eastern – Germany) I thought a lot about what ‚identity’ could be and last week I met up with a co-worker from university who lived in Israel for some time and is dealing with the Middle East in her dissertation (and has been before in her Master’s thesis) and we talked for some time about our work(s) and the Middle East and the experiences we made ‚over there’.

Obviously – and that was what we agreed about – identity (and especially national identity) is constructed in a slightly different way in the Middle East and I think that the language plays kind of an important role in this game. And then I realized that my knowledge of Hebrew is influencing me more than my knowledge of English or most basic German (which are basically the only two modern languages I know at a decent level). Even though I love English and I do quite an amount of my communication in that language (not to talk about German being my first language as some of you will know/assume/have figured out) my ‚relationship’ with Hebrew is of a different nature. My Hebrew is (of course!) not of the quality my English is – why should it? I’ve learned Hebrew for two and a half years now (two years ‚active’) while my English has been growing for eleven years now (gosh, I’m getting old!). But still it really belongs to me and it had from the very moment of learning the Alef-Bet – which wasn’t really the case when I started learning Russian (for the record, no, sadly I really don’t relate to Russian).

The week before our meet up I talked to a class mate from from the Hebrew class I went to before I decided to go with the harder one. When he asked me why I as a theatre girl would learn Hebrew I answered something very weird but fitting at the same time.

I said: You know, I guess in fell in love with Hebrew the minute I started learning it. And now we’re married. Life-long.

Actually THAT gives me a different perspective of some other things in my life, but I guess, that would be another story….

Kann es denn so schwer sein? / Is it too hard?

(english article down below)

Ich gehöre zu den digital natives, von denen man so spricht, und ich liebe meinen Twitter-Account (obwohl der Twitter-Account, den ich für einen meiner Arbeitgeber pflege, mehr Pflege gebrauchten könnte…).

Die Kritik-Plattform livekritik.de hat zum Thema digital natives und Theater eine Blog-Parade gestartet, bei der es um Meinungen zum Live-Twittern von Theatervorstellungen geht. Für mich sowohl als Theater- als auch als Online-Mensch interessant und vielleicht sind meine Gedanken auch interessant für andere.

Zuerst lässt sich feststellen: Seit ich ein iPad besitze (August 2012) und seit ich endlich auf ein Smartphone umgestellt habe (Januar 2013) hat sich mein Twitter-Verhalten ziemlich verändert. Es ist praktisch und angenehm von überall twittern zu können – und von überall Tweets lesen zu können. Zumal es schon eine Art Twitter-Poetik gibt, irgendwie.

Letztes Jahr las ich zum ersten Mal über spezielle Twitter-Events oder Tweet-Seats in Broadway-Shows und zugegebenermaßen war ich etwas neidisch: Ich mag Theater und ich rede gern drüber. Über das zu reden (= zu twittern) was man sieht in der Sekunde, in der man es sieht, ist eine Art Paradieszustand – da sprechen aber nur selten eine Option ist, muss es ein Traum bleiben und man muss sich an sein Gedanken bis zur Pause erinnern (um dann darüber zu reden, wie das Hemd des Tenor halb offen ist oder Sophie Rois es irgendwie schafft, einen Mann zu spielen, ohne keine Frau zu spielen – was auch für einen Tweet zu komplex wäre). Twitter würde hierbei eine sofortige Befriedigung schaffen.

Aber: Ich habe 76 Follower auf Twitter – und wie viele von denen würden wohl meine Freak-Tweets zu Theateraufführungen interessieren?

Aber Nr. 2: Letzte Woche begleitete ich eine befreundete Journalistin zur Premiere von Frank Castorfs Adaption von Tschechovs „Das Duell“. Wir saßen mit (anscheinend) einigen anderen Journalisten mittig in Reihe 9. Vor mir, in der 8. Reihe, saß eine Frau, die während des Abends mehrmals ihr Telefon rausholte und auf das Display starrte (und es war kein gedimmtes iPhone-Display, sondern eher als würde man in die Sonne gucken), und jedes Mal wurden die Menschen um sie herum geblendet. Okay, vielleicht war das ein Arbeitstermin für sie (sie hat nicht getwittert, das hätte ich erkannt) und ich weiche bei Arbeitsterminen auch auf mein Telefon aus, aber….nein. Ich meine: Respekt. Dort auf der Bühne stehen Menschen, die sich den Arsch abspielen (Entschuldigung, aber für so einen Castorf-Abend ist das irgendwie die richtige Wortwahl). Es ist Live-Theater und es ist dunkel im Zuschauerraum! Dunkelheit heißt: Andere Menschen sehen das Licht des Telefon-Displays.

Aus theaterwissenschaftlicher Sicht ist es auf der einen Seite sicherlich spannend (Aufmerksamkeitsstrukturen. Theater und digitale Medien. Intermedialität. Einen Theaterabend durch ein Medium, das anders ist als Fernsehen, erleben. Archivierung….), aber gleichzeitig stellt sich die Frage: Was verpasst man während des Twitterns? Manchmal passieren die Dinge auf der Bühne in einer Geschwindigkeit, dass man selbst bei voller Konzentration etwas verpassen muss. Und dann noch mehr verpassen für’s Twittern? Nein. Ich möchte sehen, was ich sehe – und das beste sieht man meistens nur, wenn man richtig hinguckt und aufmerksam ist. Aufmerksam-aufmerksam.

Einige der Blogger äußern sich positiv über (hypothetische) Twitter-Proben ähnlich der Proben, zu der Pressevertreter vorab eingeladen werden, oder Fotoproben (die, soweit ich informiert bin, für Berliner Theater Pflicht sind). Diese Proben könnten dem Theater noch eine andere Öffentlichkeit geben – neben den langen Vorberichten und Kritiken: kurze, vielleicht sogar minutiöse Dokumentationen, Kommentare und Gedanken zu dem Gesehenen. Es wäre eine andere Situation, vor allem, wenn diese Proben eventuell nur bei Arbeitslicht – oder sogar auf der Probebühne statt finden würden; die Hemmschwelle, das Telefon zu zücken um zu twittern, wäre wohl um einiges geringer.

Ansonsten muss man seinen Theaterbesuch eben davor, in der Pause und danach in seinem Twitter-Feed abdecken. Und wir sollten uns doch unsere Gedanken bis zur Pause oder bis zum Ende der Vorstellung behalten könne, oder? Das sollten wir. (wobei der Modus des Twitterns dann auch ein ganz anderer ist.)

So schwer kann das doch nicht sein.

übrigens gibt es im Mai in Berlin zu diesem Themengebiet eine Tagung der Heinrich-Böll-Stiftung und weiter unten gibt es noch Kostproben meiner Theatertweets.

********

I am a digital native. And I love my Twitter-account. (although the account I take care of the small private theatre company I work for could use some more care….)

The German critic website livekritik.de started a blog parade asking for opionions about tweeting during performances. And I guess for me being both a theatre- and an online-person it will be nice to blog my thoughts.

First of all I have to state: Since I’ve bought myself an iPad (August 2012) and even more since I’ve finally upgraded to a smartphone (January 2013) my use of twitter has changed dramatically. It’s nice and handy to be able to tweet from where ever I am. And most of the time I really enjoy the ‚poetics’ of tweets.

Last year when I first heard about special theatre tweeting events on Broadway I was a little jealous – I enjoy theatre and I enjoy talking about it. ‚Talking’ (=tweeting) about it in the second you see it is something you often want to do but since talking about it (e.g. with the one sitting next to you) is often not an option – it stays a nice imagination and you have to remember your thought until intermission (and then you can gossip about the tenor’s half open shirt – because it’s so tenor-like! Or the great job Sophie Rois does playing men and women kind of at the same time!). Tweeting would offer instant satisfaction.

On the other hand: My twitter account has 76 followers – who cares about that freak stuff I’d tweet if I could during performances?

But: last week when I saw the opening of Frank Castorf’s adaption of Chekhov’s „The duel“ and watched from row 9 there was a lady in front of me constantly checking her phone – and it was not an iPhone-screen turned as dark as possible. Everytime she got it out of her purse she just blended everyone behind her. Okay – since I was accompaning a journalist and we were sitting with a bunch of other journalists it was a work appointment for most of them and yes – I sometimes check my phone during work related appointments as well – but….no. I mean: Respect, people. There are people on stage playing their asses off (I’m sorry). It’s live theatre and it’s dark! Darkness means: You actually can see the brightness of phone-displays.

As a theatre studies major and someone who worked a lot in and with theatre and additionally can say: What will you do about all this stuff you’re missing while tweeting? In some productions things happend at a speed it’s not even funny, you gonna miss something anyway – but missing even more just for tweeting? No. I want to see what I see. And sometimes you get the best stuff only when watching closely and paying attention. Like attention-attention.

Most of the bloggers participating in that blog-parade think positively about a (hypothetical) tweeting-rehearsal or twitter-call similar to press-calls or photo-calls (which are – as far as I know – mendatory for theatres in Berlin). Those calls could easily give some more publicity to those productions. And it’s a different setting – especially if they would take place on the rehearsal stages with working light you wouldn’t be stopped taking out your phone out and tweeting.

Otherwise you have to cover your theatre visits before, during intermission and after the performance.

We should be able to remember our thought till then, right? We should. That couldn’t be too hard, could it?

Image

Meine Tweets zur Aufführung von “Das Geheimnis des Edwin Drood” am Theater Münster./My tweet regarding a performance of “The mystery of Edwin Drood” in Münster, Germany.

Image

Tweets zur Eröffnung einer Video-Installation im Jüdischen Museum, Berlin. / Tweets regarding the opening of a video installation at the Jewish Museum in Berlin.

Image

Tweets zur Aufführung von Mazeppa in der Komischen Oper Berlin. / Tweets regarding a performance of Mazeppa at Komische Oper Berlin.