Press: " TITANIC "

"Ein wunderbar inszeniertes, mythisches Gesamtbild des Untergangs der verblendeten Technik-Gläubigkeit."

"A wonderfully staged, mythical image of the downfall of blind trust in technology."
Dresdner Neueste Nachrichten: Untergang par excellence
18.08.06


"Die Titanic läuft als turbulente Verdichtung theatralischer Bilder mit artistischen Elementen vom Stapel, es ist wie ein Sammelsurium einzelner Filmausschnitte, alle Figuren sind dabei Karikaturen ihrer selbst laut, schräg und kaum zu bändigen. Grandiose Übertreibung und der Kampf mit den Elementen sind wohl die beiden wichtigsten roten Fäden dieser Inszenierung..."

"The Titanic is launched as a turbulent condensation of theatrical images and artistic elements, it resembles a miscellaneous collection of film shots, all the figures are caricatures of themselves: loud, weird and next to impossible to subdue. Marvellous exaggeration and the struggle with the elements are probably the two most important threads of this production..."
Dresdner Neueste Nachrichten: Untergang par excellence
18.08.06


Das Projekt ist mehr als eine elementar-verspielte Verarbeitung des berühmten historischen Schiff-Schicksals. Es rückt vor allem dem Titanic-Mythos auf den Rumpf, diesem Sinnbild von menschlicher Hybris, bedingungslosem Fortschrittsglauben, von Naturunterwerfung und Klassenarroganz.

"This project is more than an elemental and playful adaption of the famous historical ship's fate. It addresses above all the myth of the Titanic, that symbol of human hubris, unconditional belief in progress, of the subjugation of nature and class arrogance."
Sächsische Zeitung: Schwimmst du noch oder sinkst du schon?
18.08.06


"Call it a circus of comic grotesques directed by Fellini with elements of Cirque du Soleil and images drawn from Fritz Lang's "Metropolis" or Terry Gilliam's "Brazil." Friday night, the Gateway Party Liner watched from across the Allegheny, adding to our pleasure as part of our view, though the Cultural Trust dignitaries and funders on it thereby got a very poor and distant view of the proceedings. But the show is really all about us, the hoi polloi -- our fascination with the grandiose display of the rich and our pleasure in their comeuppance. The Titanic is a theme of Biblical size, like the Tower of Babel, and the burlesque ritual enacted by these inspired German troubadours is in the great tradition of parables of human pride."
Pittsburgh Post Gazette: Riverfront 'Titanic' packs theatrics with flair
10.10.04


The Titanic Sinks Again, This Time On Land


"The slavering, wine-swilling owner of the ship is entertaining his equally boozy, ludicrously endowed mistress over dinner, while below deck a lame coal stoker tries to stem the first streaming leaks of water with his crutches. Slices of cooked pork and chunks of chicken fly through the air and into the audience, and Champagne spurts willy-nilly as the couple dine, unaware of the watery disaster beneath them. (...)

Actors pile in, deformed-looking with exaggerated features created by makeup, wheeling in circles and yelling, to create a chaotic, nightmarish circus. From the pile of scrap metal they raise a creaking, shaking skeleton of a ship, and the action whips into a frenzied pace, driven by a group of off-kilter musicians. Their combination of mutilated waltzes, didgeridoo and horns, mixed with the clanging metal, creates a clatter, as if someone were pushing Tom Waits down the stairs." (...)
New York Times: The Titanic Sinks Again, This Time On Land
06.10.04

"Bravo pour l'audace et la vision créative, pour cette mise en scène ingénieuse et totalement éclatée qui nous en met plein la vue, qui nous surprend du premier au dernier instant."

"Special praise for the audacity and the creative vision, for this ingenious and completely loony production that wows us and keeps surprising us from the first moment to the last."
Le Journal de Montréal: Titanic en version trash
14.07.02

A great hit, and we're not just talking about the iceberg

"The designs for this Titanic! are fascinating. Not only is the combination of huge amounts of fire and water visually spectacular, the imaging quotes the zeal of Meyerhold's turn-of-the-century revolutionary constructivism and the cynicism of Germany's noir horror films from the decades immediately following. The clown-like acting style is also drawn from the Russian revolutionary style, which sought to return the art form to the people. German theatre was the through-line from Russia, to what became modernism's main theatrical styles. Most readers wouldn't give a damn about the origins of the work's politics or aesthetics. What you want to know is whether it's a fun night. Yes, it is. The work is really quite marvellous, entertaining for children and adults alike. ... It is fine popular entertainment, with larger-than-life comic characters parodying the saga, huge and spectacular feats and tricks, including burning fires, floods of water and delightful fireworks to top it off."
The Sydney Morning Herald
23.01.98

"... one of the most spectacular outdoor shows ever - and for once you can safely believe the hype."
The Northern Echo, Stockton, England
26.07.96

"I was prompted to these reflections by a great spectacle in El Poliedro by a German group. Some actors seemed to have been recruited from the circus, travesties of humanity, incomplete creatures. Screams alternated with thin shadows and profoundly distorted bodies. The music of the three jazz virtuosos from Leipzig - the bass player was like a god with his apostles around him- defined the action of each dialogue. We all know the story, but its images are strong.
El Nacional, Caracas/Venezuela
16.04.95

"... a spectacular visual event with brilliant dramatic irony."
Borba, Belgrade
30.09.94 

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