"Lostills. verlorene stillleben" von Jo Fabian

"Ein Theater der Bewegten Architektur"

Lostills. Verlorene Stilleben (Ozeantrilogie Part 3)

Premiere 29.04.1993, Staatstheater Cottbus/Kammerbühne
Direction, Stage, Katagraphy, Costumes: Jo Fabian
Dramaturgy, Assistant Director: Ralph Knebel
Choreographic Assistant. Training: Pierre Beguin
Drum Training: Wieland Wagner
Video Production: Department, Substanz-Video
Music: Coil, Steve Reich, David Sylvain, Unit und Jo Fabian
Sound Production: Nico Felden, Olaf Gade, Andreas Koark, Falk Hartmann
Producer: Ralph Boock

Francina Borges, Catherine Dulin, Anna Huber, Andrea Kranke, Anne Moll,
Gabi Schiffner, Elvira Schurig, Ralph Boock/Pierre Beguin, Rocco Hauff,
Andreas Kirsche, Ralf Kittler, Wieland Wagner, Uwe Wögler

Kleindarsteller: Roger Beständig, Kay Seiffert, Alexander Weichbrot

Voice: Kai-Brit Schrader

Sonja Elstermann, Heidemarie Fabian, Ulrike Henning,
Paula E. Paul, Kerstin Rünzel, Volker Herold, Jörg Steinberg

The dancers reject the applause. Although they stand in a row in the middle of the stage and bow repeatedly, individually and in small groups. This is the logical close to 75 mostly exciting theater minutes, in which everything else is completely different from the usual: dance theatre in which stage set and props almost move more and more often than the dancers; dance theatre that wants to and can remove itself from the possibility of interpretation through its variety of surrealistic references; dance theatre that does not want to be a “piece” but rather a “whole”.

(Mathias Klein, Hannoversche Allgemeine Zeitung, 3.5.1993)

Fabian is beyond himself in the finale. The dancers stand in a row and bow, but it remains unclear if they do this to receive the final applause or to stay in a straight line. One dancer stands in front of the others, looks up, and points to the exits… until the last audience member has left the room.

(Renate Bräuninger, Lausitzer Rundschau, 4.5.1993)

The true conclusion was different – and it refuted the idea of self-satisfied and self-referential theatre in its own way. Since the audience members did not want to go, the women from the coat rooms jumped in and ended the evening in their own way.

(Petra Stuber, Theater heute, 7/93)

Eine Produktion des Staatstheaters Cottbus