The thieves of hearts: Merry Parks do not take seriousness with Schiller’s drama – culture

In the decade when Bonn Park was a child, German-speaking theater was already concerned with getting the theatrical canon of the classics off the pedestal with as much irony as possible. The so-called pop theater of the 1990s took lightly everything that seemed inaccessible in dramas, dressed Shakespeare, Chekhov and Schiller in spectacle costumes in front of video collages, or smashed a bust of Goethe with a bat. Behind it was a portion of rebellion against the directors of that era and their pathos, a socialization through pop punk, funk and folk scrappy, as well as the urge to tell oneself. Although, aside from the nighttime euphoria, media consumption, and early love pains, there often wasn’t so much drama and experience that others were worth telling.

Thirty years later, Berlin-based author Bonn Park is again working on the sublime topic of program constraints with this alleged carelessness, and in doing so has won numerous industry awards before the lockdown. The latest coup: a play for the Deutsches Schauspielhaus in Hamburg, which is officially adapted from Schiller’s “The Robber”, but is actually a comforting children’s musical for adults based on the phrase “Everything will be fine”. Park, who also staged the play “Die Räuber der Herzen” developed during rehearsals in the painter’s room, crosses Schiller’s first drama with the film “Ocean’s Eleven”, makes all adults talk like children, and has even hired the magician Jan Logemann, who can drip a beach from your fist.

The preschool class of state actors then experienced the Beagle Boy adventure in Las Vegas in a mixture of awe, challenge and humor exercises by Helge Schneider. Amid delicate neon palm trees, huge slot machines, and an orange-red stairway leading to a Safe-Elysium in the background, dressed in a flame-embellished western wardrobe and cowboy boots (stage and costumes: Laura Kirst), the excitement and the melancholy of a child’s day is recreated. Spiegelberg brothers Fisto and Fausty (Jonas Hien and Matti Krause) argue over who should be the leader of the gang. Shorty (Eva Bühnen) makes herself important by whispering. And Karl Ozean (Angelika Richter) allows his friends to chase away his impending sadness with the bubble bath, the Obama speech, the fricassee and the 2012 lullaby.

Central message: “Because everything, everything will be fine. And nothing, absolutely nothing is bad.”

In happy irresponsibility, one line is about climate change, world war and the pandemic, the other about German R’n’B, a vegan chef and bad billionaires. Central message: “Because everything, everything will be fine. And nothing, absolutely nothing is bad.” In this childish tenor, the piece ripples nicely. Sachiko Hara and Sasha Rau play the three roles of the Moro family who stayed together at Schiller’s house, here: Amalia, Franz and Father Ocean. Sometimes stubborn, sometimes simply naive, they refine the intriguing conflicts that the most famous offender of the Sturm und Drang, Franz Moor, provokes in Schiller, down to the lowest level of banality.

And in this context, the central Dadaist gospel of this ironic musical resonates in Las Malersaal: “The singing of the impressive phrases and vocabulary from Friedrich Schiller’s” Die Räuber “. An absurd reading of quotes from intentionally deleted links strings together lines of text randomly as if the poem were playing roulette. The “spleen addicted podagric moralist”, the “proud whirling head” or “Amalia’s colon” are sung here along with famous quotes such as: “The law has ruined what would have been the flight of an eagle in a snail”. And everyone sings: “Hotto!”

This semi-comic bloodshed of seriousness and meaning that Bonn Park with its “Räuber der Herzen” (Räuber der Herzen) confronts Schiller, but also Ocean’s Eleven, leaves only a mixed impression. It’s not all bad, but is it good?

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