And the director of the theater group at the jack-steinberger-gymnasium stands on the point of view: "what you want, i try to make possible." The schoolchildren also did what they could. They not only learned their lines and rehearsed, but also designed the sets; five evenings of rehearsals were wasted in the process. And they managed to "hire" the urgently needed number of male actors. "The madels have gone out and recruited mannerisms", tells ahnert. Among them were quite a few newcomers to the stage.
What is a key feature of the "stories"? Is the juxtaposition of tragedy and what are now called elements of a "soap opera has been called. "Not to kill the spab and still let the tragedy shine through is difficult", says the director. But this is exactly what the young amateur actors chuckled at. The confrontation with the content of the play, with its criticism and accusation, its mockery and the clear foresight of a gloomy time and its internalization spurs the spectator on with every scene.
The atmosphere changes with each change in the set of feelings and rituals – a challenge that the schoolchildren mastered with bravura. This is also due to the fact that the actors play their characters very distinctly, even in the smaller roles: mona munzel, for example, plays valerie, who is capricious, a little naive and yet very down-to-earth and has a strong sense of justice; nico bollwein, who plays the old-fashioned, grubby oscar in a multifaceted way; zeno scherner, who really blossoms in the role of the american. It all adds up to a coherent whole that keeps the viewer engaged and thinking.
You can tell the young ensemble loves to play. It is not surprising that laura kuntzler, who plays marianne, who fails because of her independence, says: "the feeling is ingenious. I am so infinitely happy." It fascinates her that marianne goes through a development. "She is forced into the patterns that were common at the time, but she evolves." She can certainly put herself in marianne’s shoes: "what i say comes from the heart"." The most difficult scene for laura was the scene in the maxim: here she has to show how marianne presents herself as an animator to make money. "That’s all right. But it takes a lot to perform like that", she says. "My teachers are sitting down there, too."
Johannes fronius had to play a part that required a lot of fingertip feeling. The magic king, marianne’s father, is an old man who upholds the social ideals of a bygone era and defends them loudly. This often seems grotesque and laughable. Is he a clown? "Because he thinks differently, he does not consider himself to be one", says johannes. "But of course one laughs at him. Just us, when we see the stuck in the 21. Century see." He has gladly taken on the character of the magic king, which he renders harshly and with amusement stiff and very whimsical? "Yes. It was appealing to put myself as a young person into the role of an older person and try to understand his actions." He often thought through the scenes, and also included the characters in marianne’s father’s surroundings. "The role has taken little of my personality," says kai, he says. "At the most the more easily irritable."
Kai kochanowski stood on stage as alfred – a hallodri. "He’s not really a nice person", says kai, who plays the male lead with convincing sausage-headedness. He is greedy for money because he bets, but on the other hand he has charm. "He has taken marianne by storm. But he throws the people away like mull." But in the end it is noticeable, how also he is others. The portrayal was not difficult for him, says kai. "I can identify with alfred." Learning the text was more difficult in the beginning, he says. "But then it went."
The dialogues with the coarse mother (victoria brath) are a real amusement in the interplay of unknown brazenness and submissive mischievousness.
Exactly this interplay, the subtle alternation of seriousness and ridiculousness and the shining through of one level through the other, is what the schulers presented on a high level. A rough performance.