Heinemann. ... "His cool distance to the dance is intentional. ... Not the virtuosity of the dance is at the forefront, but the thinning Kleist's thought processes. "Skillfully weaves the choreographer and director, the two narrative strands together ... What was intended as a satirical point Kleist against the contemporary theater Iffland, Heinemann is on the youth suicide couple Kleist / bird - and from an excellent puppeteer Werner Ries giving viewers. good choral affirm the presence of famous question and ruled otherwise his trade as linguistically playful dolls excellent. He remains in the characteristic style of old-fashioned carnival once and tilts the puppet theater in orgies of violence towards malicious Faust, Don Giovanni and Quentin Tarantino. "
With excellent performers lit MS dance works this time from Kleist."
Mannheimer Morgen, the Rhine Palatinate, Jan Kirsch
From the dance of the puppets of Jean Neustadt
Heinrich von Kleist was a great storyteller and dramatist. A theorist, he was not. While his contemporaries diligently inscribed in the philosophical field of aesthetics, Kleist cultivated fields in the Swiss prefer real tuna. The most famous aesthetic signature of the author appeared as well in an unusual setting. In December 1810 published Kleist's essay "On the Marionette Theater" in the "Berlin evening papers," a newspaper project that he had started two months earlier. Despite its brevity, this text comes to the most-discussed writings of his time. After all, it made the claim that only the truly graceful art puppets were reserved.
The article is in the form of a discussion about the puppet theater designs. There, namely the first-person narrator meets a certain Mr. C., principal dancer of the Opera in M.
For Mr. C., the anti graven figures of thin threads, the most graceful creatures on earth. The mechanical limbs move men, to his thesis, graceful than any human. They "need the ground only, as the elves, to strip him ... and we need him to rest it and to recover from the exertions of the dance."
But not only gravity keeps the people of consummate grace. Consciousness emerges in the course of the interview "On the Marionette Theater" a true enemy of natural grace. "For affectation appears when the soul is in any other point than in the . The focus of the movement "In short, when man reflects on his movements and motives Kleist illustrates the claims made by two examples. The narrator recalls a young man who pulled in front of a mirror, a splinter from the foot and at the sight .. the cast of the statue of "Dornausziehers" This observation'm making, he tried in vain to repeat the graceful movement, "he began, for days to stand before the mirror, and always a stimulus at a time left him," the first-person narrator in disorder on the grace of the young man. Mr. C. on the other hand tells of a sword fight with a bear. feints by the animal could not put off, ignored it simply is not serious collisions, and any real impact, it skillfully parried. The mind-free animal dominated his movements perfectly.
man and artist is that original state of paradise denied. Thus Kleist Friedrich Schiller denied the faith at a time of naive art making. Arcadia is exposed by Kleist as einromantischer myth. But have some of his characters such as the "Katherine of Heilbronn" quite similar to puppets on to silken threads of fate.
Jean Neustadt
Photos: Günter Kraemmer
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Source: BBC News
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