Monday , January 18 2021

Filed Fresh: Beautiful Glittering on Biedermann

The Lucerne Theater translates the Frish’s Biedermann and the Pyro drama into the real living room of Lucerne, for each performance in another. The setting stimulates, and the theater experience creates a sense of community. Well?

Tobias Gerosa

Max Frish, the maid figure Babette (Simone Elena Borrsani) also embodies the ancient choir. (Image: Ingo Hyun)

Max Frish, the maid figure Babette (Simone Elena Borrsani) also embodies the ancient choir. (Image: Ingo Hyun)

Biedermann and the arsonists, staged by Franz von Strolchen, begin with a stroll through the noble quarter of Lucerne Belleriv. And it ends with a cold buffet where the city would have to burn, with a disco sound and a glittering light.

You meet somewhere in Lucerne, and it has an underground one. With the help of a helmet and a megaphone, the antique choir personally welcomes the actress Simona Elena Borsani was a small, counted crowd of spectators. She gives a fuzzy guide and the open text of the antihsidienen Frisch choir.

Part of the living room

A good fifteen minutes passed at the premiere, first along the lake, then on the hill. The road is informative, if you rather improvise, but not posed: the actors will not know either, tell them where they are going, they would never rehearse in real spaces in which they played; and even the people of Lucerne, who provided different apartments for each performance, did not know what to expect, and that they would have to play the role of Biedermann. It is doubtful that this is true. But the sequel seems to confirm this.

Where the fire service is already being cleaned and the house of a famous, famous dentist has disappeared in the smoke, it is finally clean in the middle class living room, but please take off your shoes, the audience is warned. Then you need to organize enough chairs. After three forty-five minutes of official start, the play finally begins, and the guide-choir becomes Babette’s maid. It doesn’t really matter for the evening, but it becomes as a theatrical link between fiction and organization in this living room, which is crucial.

After the owners introduced themselves, this text is true, albeit with crude strokes. Prospective wrestler, arsonist Schmitz (Yves Wüthrich), quarters, evaluates the object, robs the fridge and prepares everything to set the house on fire. Everyone sees and understands, but no one does anything. Later he is joined by his colleague Eisenring (Jacob Lev Stark), and he also participates. All this happens in close contact with the public, which is located in and around the living room with the actors and permanently operating theater personnel.

The charm of first-class improvisation

The setting creates an unfamiliar performance: the play has the charm of improvisation, when amateur actors, that is, residents of the apartment, the texts are presented in more and more unusual places, clothes, body parts for reading; when they whisper only to the maid.

Even Max Frisch was forced to explain who the arsonists really are or not. But behind the sympathetic experiment of leadership and the clumsy play of reality, these and almost all other significant problems disappear.

The fact that beer or Swedish oil barrels finally do not explode and that the Lucerne fire brigade does not rise again is not surprising. Instead of fire there is a disco and a cold buffet. The game would have earned more arson endurance and put more attacks than a pictorial solution to make the audience co-conspirators of the invaders and the Biederman family.

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