Teatron Theatre, Arnsberg, Germany; Theatre Without Borders, Vienna, Austria, 2002
Author: based on William Shakespeare
Directed by Martina Winkel
about the production
The jury of the Theaterzwang festival characterized the “unique theatrical language“ used in Yehuda Almagor’s Shakespearian adaptation as “gloomy, exasperating and thought-provoking“. On a cheery-dreary fairy island he gets mixed up with his Ariels, Calibans, flying ghosts and omnipotent Prospero, who crazily spins his webs. Almagor creates his own Shakespearian world on the writing table, oscillating between reading, narration and incarnation in the character of Prospero, and that also with the help of the bottle...It is comic, humorous, and moreover, it is that which might be called the theatre of objects: all objects play together.
Rainer Wanzelius, Westfalische Rundschau
The theatre should be like Jazz: lively, sensual and physical.
To present Mr. Prosper, a clerk with a potbelly, glasses and a bald head, the classical Shakespearian text is a psychodrama – on a green writing table and its surroundings, which became his sole island, he replays an old story of multiple betrayal. Office aids become animated in the actor’s hands; scissors, paper punches and staplers are attacking, a ruler is beating rhythm, paper birds are flying around, and Prospero’s daughter Miranda or perfidious brother are produced from similar materials. The convincing office stylisation of the principal hero is a part of the play, therefore swiftness and motion culture with which his seemingly decrepit, asthenic body flings into a rhythmical dance with paper tubes or a large mirror comes as a surprise. By simple darkening or the subtle soundtrack mixed up of indefinite, possibly industrial or “nature’s“ sounds, Martina Winkel’s direction achieves a maximum effect.
Anna Grusková, Domino fórum
directed by Martina Winkel
starring: Yehuda Almagor,
set: Christoph Krumböck,
lighting: Silvia Auer,
sound: Helge Hinteregger
Martina Winkelá (1958)
grew up in Vienna. She studied theatrical science, the history of art, and privately also theatrical production. After several months spent in Indonesia, where she studied Balinese shadow puppet theatre, she, together with Airan Berg, set up Theatre without Borders in Vienna in 1993. They create visual theatre to express their views on socio-political as well as formal-aesthetic problems through shadows, figures and projections. Theatre without borders in Vienna is the organizer of the international figural festival for adults Macht des Staunens (Power of Amazement).