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First and foremost, the festival is “Hin & Weg” – you can go to Lake Helen for the “Contemporary Theatre Entertainment Days” and immerse yourself in another world – but it’s a playground for talent (literally). For example, the young ensemble Ehrlos from Vienna presented the anti-capitalist show It’s Not Enough for Everyone, which criticized René Benko, Heidi Horten and Elon Musk: You look at this quartet and they always exude joy, research and debate. There are a lot of half-baked things put together for searching – Marc Illich as the dominant know-it-all (in a Statue of Liberty costume), always annoyed by the lack of knowledge displayed by his fellow activists.
The group has been at the Herrensee as “Ensemble in Residence” throughout the festival (August 9-18) and has been publicly rehearsing (quite a challenge) its new show “Bussi Baba” about Austrian identity; it will premiere at the Olé Theater in Vienna on August 23.
A troupe that still has no name makes a lasting impression: Viennese Anne-Sophie Delmas met Sigridur Hagarin Pettersdottir (from Iceland) and Jonas Elisabethson Antonsen (from Norway) at the Jacques Lecot theatre school in Paris; together they worked on their production “45 Minutes”: a cold state policeman forces a submissive employee and a teacher to eat a delicious meal – as tasters for the dictator. The three quarters of an hour of waiting before finding out whether the food is poisonous is unsettling: Anne-Sophie Delmas portrays the torment of her Olivia with just a few words, eyes wide with horror and a lot of pantomime.
She also took part in the final presentation of “Theater Litschau”: Under the guidance of Christoph Braendle, the young women (again without applicants) created the play in a few days as part of a workshop and then staged a reading show in the Gütermagazin, a shed near the Litschau train station. Agnes Hofinger’s amusing crime novel is set in the lido of Litschau. Johanna Kubassa realizes the wonderfully absurd dialogue between the child and the world, in which Lara Horvath (a student of the Department of Drama at the MUK Vienna) is able to shine with enthusiasm.
The presentation entitled “Fragments of Identity” by students of Ernst Busch University Berlin in the Brauhausstadt was a highlight: Wael Kreiker and Saniia Bludova, who fled Syria and Ukraine respectively a few years ago, performed incredibly moving dementia scenes from Joël Pommerat’s The Reunification of the Two Koreas without knowing any German; as Heinrich von Kleist’s Penthesilea, Pia Dembinski staged an almost unbelievable battle of the sexes in the style of free wrestling: not only Achilles, represented by Carl Geißler (a little bear), remained surprised in the face of this blond, articulate whirlwind.
Of course, “Hin & weg” is performed not only in empty spaces (including old department stores and sheet metal halls), but also outdoors – around Lake Heeren. For example, Teater Štrik from Klagenfurt invites people to go on an adventure in the submarine “Susanna”: everyone squeezes into the caravan, and in front of the window, the fascinating underwater world actually unfolds in this elaborate puppet theater.
In addition, Anton Widauer and Alina Schaller, together with their band KollekTief, the Litschau choir and many locals, once again realized the complex station play “Chronicles of the Northernmost City”, which ended with a shared meal through history on the lakeshore; due to rain, the last performance (Sunday) could only take place indoors. The possibility of a revival in 2025 is rather small: Widauer, Anatole at this year’s Reichenau Festival and Schaller have slowly outgrown the habitat of bandmaster Zeno Stanek.
But Bernhard Fellinger has already announced that it will continue next year: his roundtable discussion at eleven o’clock, entitled “Breakfast with Fellinger”, is a highlight. This year he interviewed Peter René Perez, a Sephardic Jew born in Vienna in 1936, and Kurd Ali Gedik, who works as a social worker in Favoriten and makes an impressive contribution to integration work. People also listened with fascination to the story of Irene Mareiner, whose heart and kidneys were foreign and who always remembered the donor on July 28, the day of the transplant.
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