Stronghold of sin

Stronghold of sin

Stronghold of sin

               Genre: Documentary
               Theater, Euripides, self-realization

freedom hurts

  Playing on a stage can be a liberating process. That is easily said, but sometimes brockenschwer. At least if the lay actor is a committed Muslim and wants to bring performance in line with their faith. About the pain of the liberation Thomas Lauterbach has made a sensitive documentary – remarkably close to its protagonists, but also very respectful. He won the 2008 a “Golden Dove” in the German competition in Leipzig Doc Film Festival.

17 women of Turkish origin, sought the Stuttgart State Theater for the Medea-production by director Volker fighting in 2007. Aysel came to audition, the only head scarf wearer. What inspired them, we hear from the off, Aysel voice on the answering machine. “I’m so bored, my sons do their own thing. Always clean and cook only, plus I have no desire. So I would be itching to play acting already, although I do not know what my husband says to .”

Knapper, one can not summarize the optimistic mood of the hostess, led for many years in the province of Swabia, a well-placed and protected life. And much more we do not learn from their family life. Instead of doing all the more about the inner problems and self-doubt, which pulls the fulfillment of the desire for himself, after living for others is now something for himself. Exacerbated

is the inner conflict between faith and self-determination because the women did not know beforehand how Volker fighting would create the staging. The Medea of Euripides’ text was strongly zusammengekürzt namely, in favor of “foreign” texts. Which came into rehearsals and workshops in which women talked about their own lives, through experiences of violence, humiliation and life in a foreign country. They succeeded, and fighting to advance his staff, some very deep and intimate schambeladenen experiences. These statements have been condensed into a text which was then performed in the choir on stage – so to speak, as the collective voice of Medea today, a woman who so long deceived, and is lowered until it is terrible revenge.

Aysel for this kind of theater, even in the fucking words like “and sex is allowed to appear on stage, an indescribable challenge of an open process with an uncertain outcome. And the great thing about the stronghold of sin, that he takes the viewer on a journey without looking from a bird’s perspective on the protagonist too. Director Thomas Lauterbach resists the temptation to adopt a modern point of which appears in the self-determination of women as the most natural world – and every religion, which she denies, just as the stone-age fundamentalism.

This touching scenes succeed where one wonders how there could be a camera there. Approximately when Annabella Aysel looks at them with their fears very seriously, even though Anna Bella appears to be the exact opposite of Aysel – confident, emancipated and taboos. Or if the women in the break room and talk among themselves are unflattering about their problems with the staging. In their opinion Aysel here is completely isolated. She shocked the other set, much more modern “Schwabotürkinnen” with such deep-rooted attitudes like “men are the better man.” But at the level of body language and emotional vibrations Aysel is very secure and included in the group.

The same way the film is about her. He assists them with all their contradictions. He reveals how cheerful and courageous this woman is. But he also describes that there is no simple solution to their problems in the “hotbed of sin,” as they once the theater in a mixture of irony and dubbed bitter earnest. Without pain, the freedom does not come into the world. This is a knowledge which must withstand both the protagonist and the audience.

(Peter Gutting)

Title: stronghold of sin Country of production: Germany Year of production: 2008 Length: 79 (Min) of material: mindjazz pictures

Stronghold of sin

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