Fassbinder katzelmacher online dating
Brecht (and thus Fassbinder), in this manner, took this and brought it to the characters themselves, preventing audience members from thoroughly identifying with the characters, thus attempting to force viewers into thinking more deeply and analytically about the play and associated themes themselves.Fassbinder’s attempts at this definitely show through.Tedium in particular as a theatrical technique is particularly effective in “Katzelmacher,” as the boredom and everyday fatigue of the characters was apparent, while the escalation of the characters’ beliefs that Jorgos is somehow plotting against them and directly ruining their lives rapidly gets more and more vivid.As someone who regularly reads the Director’s Note and other information enclosed in the program before shows, I was provided with this well-needed context — but other attendees may not have been as fully-informed.Or, are these points both entirely irrelevant altogether?Instead, does it solely depend on an audience member’s reaction, no matter the prior context? As a theatermaker myself, I struggle with this question in my own work, and it is by no means of a fault of “Katzelmacher” that it didn’t magically solve all of my creative problems or fulfill them in any way.For the most part, one could almost say that “Katzelmacher” is made up of a series of closely associated vignettes.
We could spend days going around in circles trying to solve this metatheatrical chicken-and-the-egg problem.
Audience members are given little to no exposition or background on any of the characters — who are rarely smiling or happy in a conventional context — and instead must sit through a few grueling moments of silence.
Stone centers his production of “Katzelmacher” around concepts of tedium and fantasy, and the play certainly doesn’t shy away from either of them.
Nevertheless, even with shows that I don’t quite understand or come out of not entirely able to process, I still want to feel something.
“Katzelmacher,” in a way, was almost too perfect — the pristine set design, the carefully-timed lighting changes — maybe we’re trained to even make our imperfection perfect.
Hasse, Gustav Knuth, Hans Christian Blech, Peter Carsten, Mario Adorf, Emmerich Schrenk.