Peer Gynt

by Henrik Ibsen
Production Design Johannes Schütz
Sounddesign Martin Person
Dramaturgy Claus Caesar
Premiere September 30, 2015
Margit Bendokat
Samuel Finzi
Frankfurter Rundschau
Ulrich Seidler, 2.10.2015
“In the Kammerspiele of the Deutsches Theater, the Bulgarian director Ivan Panteleev has filtered a two-person play out of Peer Gynt, carving a philosophical piece of precision work out of the original opulent trial-and-error play about searching for the self. The line about the onion has been cut (…) – but a skin, the delicate outer layer, is manifested in Johannes Schütz’s stage set. It forms the walls of a little hut standing on sandy ground. First Margit Bendokat cuts a little window into it, but then Samuel Finzi rips down this brittle partition between outside and in. The emptiness is now completely exposed. (…) The actors masterfully convey despair and scorn, love and madness, convulsions and greediness, but all fantasies and bonds are quickly pulled apart again, and they are left just standing there, lost: naked nothings in the naked nothingness.” “In the Kammerspiele of the Deutsches Theater, the Bulgarian director Ivan Panteleev has filtered a two-person play out of Peer Gynt, carving a philosophical piece of precision work out of the original opulent trial-and-error play about searching for the self. The line about the onion has been cut (…) – but a skin, the delicate outer layer, is manifested in Johannes Schütz’s stage set. It forms the walls of a little hut standing on sandy ground. First Margit Bendokat cuts a little window into it, but then Samuel Finzi rips down this brittle partition between outside and in. The emptiness is now completely exposed. (…) The actors masterfully convey despair and scorn, love and madness, convulsions and greediness, but all fantasies and bonds are quickly pulled apart again, and they are left just standing there, lost: naked nothings in the naked nothingness.”
Süddeutsches Zeitung
Peter Laudenbach, 2.10.2015
“The excellent Samuel Finzi plays the big child Peer as a melancholic who has been through it all and now, rather tired, remembers the wild confusion that was his life. Looking back, he grumbles about the fact that morality needs evil as its flip side. (…) Peer may not have had much luck with women in his life (nor they with him), but he has more luck on stage. Because all of them are played with dry, restrained humour by Margit Bendokat (…). The faster Finzi’s Peer races through his fantasies and adventures, the more stoically all these women observe this strange but likeable egotistical scatterbrain through Margit Bendokat’s eyes: a big boy who simply doesn’t want to grow up.” “The excellent Samuel Finzi plays the big child Peer as a melancholic who has been through it all and now, rather tired, remembers the wild confusion that was his life. Looking back, he grumbles about the fact that morality needs evil as its flip side. (…) Peer may not have had much luck with women in his life (nor they with him), but he has more luck on stage. Because all of them are played with dry, restrained humour by Margit Bendokat (…). The faster Finzi’s Peer races through his fantasies and adventures, the more stoically all these women observe this strange but likeable egotistical scatterbrain through Margit Bendokat’s eyes: a big boy who simply doesn’t want to grow up.”
Der Tagesspiegel
Rüdiger Schaper, 2.10.2015
“National epic, Scandinavian Faust, global theatre from an early stage of globalisation, Richard Wagner’s Ring des Nibelungen seems to glimmer in the background. A great play on a small scale in the Kammerspiele. Intimate conversations between Peer and the “Über-woman”, dressed in folkloric costume, while the no-longer-so-young boy wears a business suit. Panteleev and his two actors dramatise how history – both personal and political – comes about. Just like that – with someone telling their story, defining the world and themselves. Peer Gynt – this shines through in Finzi’s portryal – has what it takes to be a dictator, if only he had been allowed and had an opportunity. So he becomes a slave trader and a rich man. And loses it all in order to return to Norway. But Samuel Finzi’s Peer has never been gone, never travelled. For him it is a play about opportunities not seized, not least because mother/lover Margit Bendokat is an anchor in this sea of desert. She doesn’t let him pull away. The play is short, under two hours long. But the two actors on the empty stage have covered a large distance. They take the matter seriously, very seriously." “National epic, Scandinavian Faust, global theatre from an early stage of globalisation, Richard Wagner’s Ring des Nibelungen seems to glimmer in the background. A great play on a small scale in the Kammerspiele. Intimate conversations between Peer and the “Über-woman”, dressed in folkloric costume, while the no-longer-so-young boy wears a business suit. Panteleev and his two actors dramatise how history – both personal and political – comes about. Just like that – with someone telling their story, defining the world and themselves. Peer Gynt – this shines through in Finzi’s portryal – has what it takes to be a dictator, if only he had been allowed and had an opportunity. So he becomes a slave trader and a rich man. And loses it all in order to return to Norway. But Samuel Finzi’s Peer has never been gone, never travelled. For him it is a play about opportunities not seized, not least because mother/lover Margit Bendokat is an anchor in this sea of desert. She doesn’t let him pull away. The play is short, under two hours long. But the two actors on the empty stage have covered a large distance. They take the matter seriously, very seriously."

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Meeting point: entrance Kammerspiele
13.30
sold out
perh. remaining tickets at evening box office
A family play by Axel Hacke
Director: Anne Bader
Saal
15.00 - 16.00
sold out
perh. remaining tickets at evening box office
by Sarah Kane
Director: Ulrich Rasche
Deutsches Theater
18.00 - 20.50
Guest performance
In English language
by Jan Guillou
With: Claes Bang
Director: Julie Pauline Wieth
Follow-up discussion – Box
Box
20.00 - 21.05
sold out
perh. remaining tickets at evening box office
With English surtitles
by Heiner Müller
Director: Amir Reza Koohestani
Kammerspiele
20.30 - 22.00
20.00 Introduction – Bar