This German play, written by Wolfgang Borchert, was written back in 1946 but it didn't get to the Israeli stages up until now. This fact might come as a surprise since it deals with an issue which is highly relevant to the Israeli audience: A soldier who's coming back from the war and finds out that he lost everything he had and every door is closed to him.
Borchert also wrote a subtitle for his play: "A play that no theatre wants to perform and no audience wants to see" because of the sensitive times after WW2, when this play was published. But even in 2017 some people rather see only the heroic contribution made by the soldiers, but when they come back home, sometimes mentally and physically damaged, and need to start their lives from the beginning, they find themselves rejected by their country and society.
This joined production of Tmu-na Theatre and Goethe-Institut gives this play the appropriate theatrical atmosphere that the director Matthias Gehrt brilliantly managed to create through the use of almost each of our senses.
First of all, The entire space (designed by Aya Bakh) is a complete work of art by itself. The use of a large pipe structure from which actual water are dripping throughout the performance has a big contribution to the visual aspect of this production. There are also some other symbolic items that are always on the stage but get to be used according to the location of each scene.
Another aspect is the sound design (the music of The Doors) which is mainly shown during Beckmann's audition at the cabaret. In the original play he is singing just two lines from a gloomy war song called "Tapfere Kleine Soldatenfrau" (Soldier's brave little wife).
In this production Beckmann gives a very passionate and meaningful performance by singing "The Unknown Soldier" by The Doors, in a brilliant artistic choice for this adaptation of the play. The main line in this song is "It's all over for the unknown soldier" and Beckmann sings his heart out through those lyrics, but still gets a refusal.
According to the director people want something encouraging, and even if Beckmann's performance gives the truth, the truth has nothing to do with art.
This scene uses ars poetica and it also might be the most important scene in this play as I see it. The creators know that people go to the theatre but no matter how meaningful the play is, they'll probably go back to their everyday lives the next day.
Written by: Wolfgang Borchert
Translator: Gad Kaynar-Kissinger
Director: Matthias Gehrt
Set Designer: Aya Bakh
Costume Designer: Liron Minkin
Lighting Designer: Amir Castro
Music: The Doors
Assistant Director: Mor Lidor
Cast: Alon Openhaim, Dori Engel, Maya Har Zion, Yael Nivron, Eyal Shecter
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