Theater der Spuren & Dämmerung

Über das Gleichnis — Theater

Stille Abenddämmerung über den Dächern,
kühle Herbstluft entlang der Pfade…
Aufleuchtender Himmel, erwachende Seelen,
in der schweigenden Dämmerung des Morgens…

Symbolisches Theater aus lyrischer Dichtung, Gesang, Tanz und Musik…

In gleichnishaften Liedern, Monologen und Erzählungen, elementar und schlicht, wird vom Leben der Menschen erzählt — von ihrem Ringen, vom Glück, von Leiden und der Suche. Und von der Begegnung mit Gott und seinen Erscheinungen.

In einem Zusammenspiel von Musik, Tanz und lyrischer Dichtung, in einer szenischen Meditation, die Gesang und Schauspiel, Sprache, Gestik und Bewegung, Gewandung, Requisiten und Licht, bildhaft einsetzt — in Fragmenten der Stille und Andeutung.

Dabei verschmelzen unterschiedliche Quellen der Vergangenheit und Gegenwart:

Von der Gleichnisrede Christi, dem Ursprung in der Kunst und Kultur des Abendlandes, bis hin zum Japanischen Nô – Spiel, grenzüberschreitend in Welten und Kulturen. So entfaltet sich ein Theater voller Geheimnisse und Mystik – in einem geistigen Raum… Ein Theater der Begegnung und Stille, offen für alle Menschen!


Zum Theater der Dämmerung

Eher den Weg und Geist des Schaffens beschreibend, als eine wirkliche Theatergruppe mit festem Ensemble zu sein, wurden in den vergangenen Jahren zahlreiche Aufführungen in Deutschland und Japan, an Theatern und in Kirchen, realisiert. Der Pfad eines geistigen, symbolischen und „feinen“ Theaters, ist der Weg des Künstlers R. Rehahn, der aus Wittenberg stammt, seit 10 Jahren in unterschiedlichen Bereichen des Theaters lernt und arbeitet, und seit über 8 Jahren in Tokio lebt, arbeitet und das Japanische Nô — Theater bei seinem japanischen Meistern studiert…


Erscheinungen

Aufbruchsfragment zu “Vom Einbruch der Nacht bis hin zur Dämmerung des Morgens”

(Gera, Deutschland — 1999)

Vom Einbruch der Nacht bis hin zur Dämmerung des Morgens”

(Gera, Deutschland — 2000 bis 2001)

Gleichnisfragmente

(Wittenberg, Deutschland — 2000)

Augenblicke in der Dämmerung (1. Teil: Fragmente)”

(Gera, Deutschland — 2001)

Pfade zwischen Dunkelheit und Licht

(Gera, Deutschland — 2004)

Hinter dem Schleier

(Tokio, Japan — 2006)

Im Schein des Feuers

(Tokio, Japan — 2006)

Der Blüte Suche

(Tokio, Japan — 2006)

Kommende Erscheinungen

(geplant)

Herbstregen”

(Nach der gleichnamigen Erzählung von Akutagawa Ryūnosuke, Tokio, Japan — …)


Fragen und Antworten

(zwischen einer Spielerin und dem Schöpfer)

I was thinking about the way you performed today and I was wondering how you felt about “characterization”. I felt that although you had a “minimalist” sort of style and didn’t “emotionalize” the words much — as expected from my studies of Brecht and your description of “non‐acting” – I still felt there was a strong sense of character and personal presence — you weren’t just a puppet or a “no‐one”… 

The creation of character here is the other way around…  From the outside to the inside, some slight differences in how to move the body, the way to step or hold the arms, as well as differences in the voice, minimal but still there… A warrior moves stronger, a woman more tender, an old man wants to move normal but through a lack of power its not possible anymore… We will speak about to which character group your role tends to… Actually all characters I mentioned above are a part of you…

What do you feel? 

At the same time I feel a lot… If the body is so calm, the inside has to be „on fire“ to give appearance to the character. There is joy, pain, anger, fear etc. – I try to bring it into the voice and my appearance…

What did you intend? 

The most important intention is to move the hearts of the audience, to let them feel… These feeling can be related to the play or not! The idea is to let them think and feel alone, to give them the time and space to be with themselves, to find something in the words and in what they see…

I’m interested in how our characters relate/differ/interact/contrast if at all — I am wondering how to “identity” with the words… Where are they coming from? From me, from the Geist of something greater…? From my experience or as a message from elsewhere… 

In your character, the words come from a higher power, from God or nature, you are a higher being, guarding a well, which is like the mirror of truth or knowledge… The words are coming through you, but they are a part of you as well! The words are not “emotionalized”, they stand alone as the human voice, they are emotion itself, pictures of feelings, thoughts or words which shall create both…

Our characters are different: I am human, you are god like or angel like, but still human… Is it because you live so close to the well, an appearance of higher forces? I think yes and no… Your voice is the voice of nature as well, a higher being who has transformed into human, like a soul crying out… At the same time we are like voices of nature…

Imagine a fire spreading out in the woods…

I am the fire (or the demon coming out of me), you are the barrier between the woods certain death and life of the green!

Then imagine all as happening inside a mind…

A spiritual wasteland is spreading inside, no thoughts or heart, but you are like the spirit, a voice who brings salvation and knowledge, love and understanding… The water of life…

An important part of your role will be a ritual, some gestures, its like your sign… Our characters interact and do not interact, that means you are there and not there… You could be a whisper from the water or an inner voice of the fire guard and could I… We dont „touch“ or meet in reality, its a place where time is no more.…

Can you give me an idea of how you conceive of all that?

Do you mean how I create or compose? If yes, here is the answer…

An important part is a seed, a thought, a feeling in the beginning… Then there are certain layers of more thoughts and feelings I create around, all within a frame… The formal aspect is very important! The dramaturgy, the development of how to tell the play only differ slightly… I create from the same origin, within the same frame, every time… Everything comes together: Ideas, thoughts, other stories, from all cultures… An important day, where time and space center in one moment, the encounter of human and a higher being… The range is wide and open!

Also, how would you translate “Trauerseele”? I understand the compound parts but not the real meaning…!? 

The word probably don’t exists… I checked it in the dictionary! In German we are able to compose a word with two nouns… As with many words, I created the word for a certain purpose… Here its the picture of the human being with a soul of mourning… The Soul is an eternal being so a picture of never ending mourning comes across… There might be a lot of meanings…

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Theater der Spuren & Dämmerung

Symbolische Gleichnis‐Spiele aus Musik, Tanz & lyrischer Dichtung…