Momo : This name evokes nostalgia, distant memories of the children's classic by Michael Ende and especially on the first visit to the cinema of my life when I have to take all alone with the Primarschulgspänli the train to Lucerne and I could see the film. Then Momo comes as an orchestral ballet on the stage of the Bern City Theater, choreographed by the Dutch Didy Veldman ; place Shakespeare or Ibsen, instead of history or world literature so for a change, a fairy tale. This makes the ballet more accessible and easier to understand narrative as other story ballets of recent years.
This does not mean that the story would be trite. On the basis of Momo and her friends, she studied namely the question of who's the master of our time: we ourselves, or anyone else or anything. The theme of time seems outwardly more than once in the motif on the clock. Thoroughly declined but it is especially in the implementation of the dance Dealing with time. The generosity, playfulness, the actual forgetting of the time in favor of that for which it serves, characterizes Momo and her friends; sharp contrast to the hustle and efficiency of the time thieves, the Grey Men, brisk change of pace from the slow to the machine-like fast-forward are the choreographic expression of this opposition. A second theme creeps in then: the corruptible. For only by promising them some hot longed to catch them so therefore in a weak point, the gray men win people over. All - except for Momo. The fact is simply immune to trinkets and fake. In a wonderful scene with plenty of slapstick it is foisted on a doll, model Last Cry - and whilst this dancing and squealing stalks across the stage, is the sheer lack of understanding Momo what you want and why that's cool, in his face and body.
Perhaps this is the crucial scene. The ultimate showdown in the center of the gray men will in any case dealt with very briefly and casually, almost unintentionally Momo approaches with turtle and hours flower, whereas the last time thieves each other in a relatively short process tear the life-giving cigars from their mouths. In the end - you remember, it is a myth - it's raining petals in abundance, Momos friends writhe in wonder from the cold dictates of time and regain expression, movement and vitality.
The dancers of the Bern.Ballett, especially Hui Chen Tsai in a major role as Momo, and share the story with ease. The music played by the Berne Symphony Orchestra Dorian Keil comes to that, by Dmitri Shostakovich, arranged by Philip Feeney. Too bad that to find anywhere, is to what pieces it was because the music fits so well, as if Shostakovich wrote them during the reading of an end. Very danceable, it covers in each scene perfectly the mood - atonal at the beginning, how to step into the land of fairy tales to mark late-romantic voluptuous then more over long distances remaining, sent play with acceleration and deceleration. Hardly mitgekriegt unfortunately we have our regular seats 3 Rank the videos of Hambi Haralambous.
A view of the audience confirmed that this is a ballet that appeals to children and their accessible. Perhaps a clever move of Bern.Ballets in the face of crisis City Theatre and the vanquished but still the threat of cost-cutting measures?
Technicals: Momo is the Municipal Theatre of Bern in December and January more times on the board. A great taste is the video documentation of Hambi Haralambous. And who wants to read the classics again, it will (hopefully) in any decent library, and the Piper-Verlag .
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