Montage (theater)
The theater assembly is a contemporary staging and development method of theater plays. It is related to theater collage and montage in literature. Montage ( Greek: mónos- single, alone / kόlla- glue ) deals intensively with a topic, in contrast to the collage , which can be put together from different subject areas. The montage in the theater, like the montage (literature), also deals with different language levels, texts and narrative styles. Montage experiments with the classic staging and representation of the drama . Since the mid-2000s, montage has mainly been found in the independent scene. The term was formed by theater director and author Michael Neupert .
Features and working methods
A montage examines a topic such as love, hate, fear of the future, vanity, from all sides in all possible ways and tries to get closer to the core point. With the theme, the texts and the ensemble, she creates an atmospheric space. Montage can make use of all aesthetic competencies (theater, singing, dance, video, sound) and genres and is developed across all disciplines. She also uses various theater theories by Bertolt Brecht , Konstantin Stanislawski , Sanford Meisner and many more. The alienation effect and the breaking through of the fourth wall are popular.
During the rehearsal period, the montage is developed by the director together with the actors. The text, as well as the choreographies, scenarios, music and performative content are created, created and produced and, thanks to the close cooperation, appear very autobiographical, but are mostly fictional. Thus there is no dispute about copyrights as with the collage, because a montage is always an in-house production and not only celebrates its premiere at the first public viewing, but also its world premiere. It is also typical for the montage that the actors carry their real names on stage in order to enable a greater level of association and identification. A montage has no main or secondary roles, all actors have equal rights.
This form of theater does not have to have a clear climax or red thread, but rather plays with twists, surprises, taboo topics and style breaks to create an unpredictable component: life. Likewise, the use of the theater space, the props and the stage design is unconventional, mostly minimalist and amorphous. Michael Neupert, for example, usually uses a few props in the pieces by the EinEuro Ensemble and creates a constantly changing, changing and moving stage set using the bulk of a material. So he doesn't use a name in "To this day. On searching, experiencing and losing." 25,000 playing cards, in "forgotten" 2,500 spoons or in "something real would be nice" 5,000 cleaning sponges.
Individual evidence
- ^ "Aspects of Drama. An Introduction to Theater History and Drama Analysis", Heinz Geiger, Hermann Haarmann, 4th edition, 1996, ISBN 3-531-22147-7
- ^ "Trilogy of Everydayness", Michael Neupert, 2014, ISBN 978-3-00-046849-0 , p. 4
- ^ "Trilogy of Everyday Life", Michael Neupert, 2014, ISBN 978-3-00-046849-0 , p. 5
- ↑ A Euro Ensemble. Retrieved November 12, 2019 .