Katie Mitchell is interested in “Bernarda Albas Haus” in the Deutschen Schauspielhaus

Was for a Bühnenbild! The time of the Schauspielhaus Hamburg is Muskeln and the largest Kino small out. This is a nach vorne offenses Haus mit Erdgeschoss en erster Etage – unten Salon, de küchen und een gittertor in het Hof und Straße, while you lie and not sit in the Kammerchen. It gives a flying washer and a functional light source, and everything works like that, if you can see a little. If you have a Bügelbrett profession, the atmosphere is spenstisch verödet, there is a gefängnis as an Ort, a man who might want more. Kein Wunder, which has never happened here, would have abstained from Lebenszeit. Insofern is Alex Eales’ hyper-realistic image of the sinful Schauplatz for the Drama “Bernarda Albas Haus” by Spanish authors Federico García Lorca, who completed the war in 1936. There is talk of an existing problem of women in seafaring and how it can become a reluctant concept.

The beginning of Bernarda Alba’s battle with the Ehemanns, which begins with his pleasure, is an eighth phase in time. That they are happy, that the women stay in full isolation, that the house is not lost and that they are welcome to endure. One of the oldest Angustias can never go that far. Natürlich mündet this Constellation in a Catastrophe. Um the problems, the most common in the western government bonds are altbacks, active in the figures, which the British scripture narrator of Alice Birch has given a new description. When the German publishing house engaged the landsfrau Katie Mitchell, she said that the “feminist design canonical style and operation” had a special hat, while in her Tätigkeitsfeld she had a certain interview.

Can this Arbeitsweise be delivered to “Bernarda Albas Haus”? Welche Fragen hätte García Lorca einst nicht answers, denen sich Birch aus heutiger Is this a solution? Other people involved in Lorca are affected by the schicksal of more or less poor Frauen kommt dabei nicht heraus, aber es sieht tol aus: Who in a set of cupboards of the Begierds will the schauspielerinnen through the roast with dominant symmetry and during the hour Displaces Triebpotential with seinem obscuren Chaos. If you get a perfect image of an orchestra with diametrical interests, then Katie Mitchell’s high-chart fizieller Regie has found an absurdly broader harmony of harmony.

Berkenhoed is an old klug that is composed and formed religiously, with the Lorca the stream of the Catholic Church fire market. This multimedia contribution to Mitchell is one of the best ways to improve the choreographies of the leading choreographies. Festive and formal, the famous ensemble keeps on new minutes of the tension in the atemberaubend intensen Erzählstrom aufrecht – ob in zeitlupenhaft albtraumhaften Sequenzen or dynamically dissoziierten Abläufen.

Julia Wieninger determinedly decided to say everything in her Bernarda as an authoritarian, disgusted mother, her beautiful radiance and blue morals. Eva Maria Nikolaus, Henni Jörissen, Josefine Israel, Mayla Häuser and Linn Reusse play in the background, who see nach Luft and Liebe and start to enjoy with Muff and Zucht. If you use smartphones and make music with tanz music, you will find a secretly erotic encounter with the verlobten in your Schwester-statt, der nur schathaft night at hoftor auftaucht – but the power pruch ihrer they do not mutter. The fact that a flinte is for a white part of the custom is first a woman, who has some kind of understanding and is for the wütenden mob to make her flüchtete, then a hair on the brute, nachdem of the most recent paint hat.

Bettina Stucky as Bernarda’s demented mumbles during this journey and träumt vom Meer, with Luisa Taraz and Sachiko Hara as servants of the Herrin being one of the wider vehicles. The parallel montage of the hamburgers in the hamburger creates an image of the work that produces a fascinating situation, a stirring plausibility through the great artistic Darstellerinnen. Vom Patriarchat mit seiner repressiven Schlagkraft ist immer wieder die Rede (“Bes ist better, nie a man zu begegnen”), and the man knows the Kollateralschäden and the Verkümmerungen der Frauen. If the family is a family business that has gone broke, Bernarda has seen all of having her own business, reinforcing the power itself. Katie Mitchell is a spectacularly impressive performance.