In the Münchner Kammerspiele, director Pınar Karabulut has already defined the aesthetic direction of her theater with this first image by transferring the over-painting of literary origin to the stage. Plus, her adorable ensemble cast in this scene as sealed dolls in blue or pink ruffled dresses who scream and describe style in language that sounds like laughing gas.
Elsner’s menacing joke has been successfully brought to the stage
That is, when there is a philosophy about how one clearly distinguishes something as subhuman, it is funny as, of course, more than oppressive. In general, this stage through various works by Gisela Elsner has, both aesthetically and in terms of speech gesture, that menacing joke that was also one of the literary characteristics of this author.
The characters slide down a steep cliff in the picture, interviews the writer dance as if in dressage, the slingshot party and her unfortunate attempt to live sexual freedom like liberation appears as an experimental film, or: Elsner herself is trying to be a linguistic Olympian in both the most diverse sports, as well as in high-resolution sports. Political misunderstandings who wanted to “get out of the inferno of the petty-bourgeoisie and into the reality of the German democracy”.
Bringing women to the center of attention in a variety of ways is one of the stated goals of Münchner Kammerspiele’s new artistic director, Barbara Mundel. With Gisela Elsner’s “Jumping From the Ivory Tower,” Pinar Karabulut and her team delivered a superb transmission.
The “leap from the ivory tower” can still be seen on Sunday (6/6) and Monday evening (7/6), then not again for the time being. At the moment, theater schedules change frequently – current information is available from Munich Kammerspiele.
