“Holterdiepolter” plays scenes crisscross to the end

"Moo, I am the cow" – to sing in the light mozart tone, hour in the stage direction, there was something like that in improv theater. So was this "aria, performed by peter rech, a very small piece of the evening with "holterdiepolter" in the "kulturpuls" series of events.

The four actors and their pianist moritz nublein are no strangers to forchheim, since lorenz deutsch, the artistic director of the young theater, is a member of the ensemble. "Impro to the power of three" they called their offer, which was accepted by so many – among them remarkably many young people – that the curtain dividing the kolping hall had to be pushed aside.

Proverbs thrown in

It is by no means easy to spontaneously process thrown-in proverbs into a scene, "holterdiepolter" screwed the demands on itself more and more into the high by interlacing of the improvised scenes – or by change of the representation form. "Replay of the high arts that's what they call such a method, in which first of all a venue is determined by call from the audience, on which then a dramolet develops, which in the following stages comes along as rhyming poetry, as an opera and even as a dance theater.

"On the alm" – the first thing that has to appear in this scene is a cow; eagerly mooing, it is being prepared for the alpine pasture drive, when katharina mock and franziska rachinsky appear and use the idyllic scenery for photos with a snack bar. "We are influencers, they bring a fashionable advertising variant into play, but are misunderstood by alpine dairyman lorenz deutsch, who has an influenza infection of his leading cow "berta" fears. And at some point in this brain strain, he also has time for a rhymed detour about the demand for tourism.

Nonsensical tripping steps

The ballet version with nonsensical triple steps and theatrical poses then excites the laughing muscles in a completely different way. The actors were entertaining, fast-paced and had a remarkable memory, especially in the final number, when they took up the scenes they had played again and again and brought them to a new ending, even the love life of the oysters. It started with him when german asked for a pet name and wanted to understand auster.

Nothing works without the audience, even if it is only a lipstick that is pantomimed. The performance with the whole body takes up a lot of space, alternating with quick-witted dialogues, especially when the other actors interrupt a scene by high-fiving and put the quasi-frozen last gesture into a completely different context.

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