You Tube https://www.youtube.com/watch?v=PzLtaF6dYMI&t=101s
14th March 2024
DIE ERMITTLUNG - Plakat und Trailer
Regisseur RP Kahl hat das Theaterstück "Die Ermittlung" von Peter Weiss mit 60 Schauspieler:innen für die Kinoleinwand inszeniert. Der heute veröffentlichte Trailer gibt einen ersten Einblick in das künstlerisch radikale Projekt, das Kino, Theater und neueste Broadcast-Techniken verbindet, um einen eindringlichen und zeitgemäßen Beitrag zur Erinnerungskultur zu leisten.
Im Zentrum des Films stehen ein Richter, ein Verteidiger und ein Ankläger, die im Rahmen der Verhandlung auf 28 Zeug:innen treffen, die von ihren Erlebnissen und Beobachtungen in Auschwitz berichten. Weitere 11 Zeug:innen der ehemaligen Lagerverwaltung sagen vor Gericht aus. Die 18 Angeklagten werden im Prozess mit Beschreibungen der Zeug:innen konfrontiert und sollen Stellung beziehen.
Das Theaterstück wurde 1965 uraufgeführt und hat bis heute nichts von seinem Schrecken verloren: Es basiert auf persönlichen Aufzeichnungen, Zeitungsartikeln und Protokollen des ersten Frankfurter Auschwitz-Prozesses (1963 bis 1965). In unmissverständlich klarer Sprache von Peter Weiss zu einem lyrischen Klagegesang verdichtet und montiert, konfrontiert das Stück Täter und Opfer und lässt das Grauen in Auschwitz spürbar werden.
Nach einer intensiven, vierwöchigen Probenzeit haben 60 Schauspieler:innen den Text von Peter Weiss für die Kinoleinwand zum Leben erweckt. An insgesamt fünf Drehtagen wurden die einzelnen Gesänge im Studio Berlin Adlershof mit einem ausgefeilten visuellen Konzept in nur einer Einstellung gedreht - eingefangen von insgesamt acht Kameras.
In den Hauptrollen sind Rainer Bock als Richter, Clemens Schick als Ankläger und Bernhard Schütz als Verteidiger zu sehen. Hochkarätig besetzt sind auch alle anderen Rollen, so werden die Zeug:innen von Andreas Anke, Filipp Avdeev, Elisabeth Duda, Marc Fischer, Arno Frisch, Attila Georg Borlan, Dorka Gryllus, Marek Harloff, André Hennicke, Marcel Hensema, Rony Herman, Marco Hofschneider, Robert Hunger-Bühler, Rene Ifrah, Eva Maria Jost, Christian Kaiser, Klaudiusz Kaufmann, Nicolette Krebitz, Andreas Lechner, Peter Lohmeyer, Jiri Madl, Karl Markovics, Thomas Meinhardt, Robert Mika, Axel Moustache, Dirk Ossig, Axel Pape, Christiane Paul, Barbara Philipp, Andreas Pietschmann, Ralph Schicha, Peter Schneider, Andreas Schröders, Axel Sichrovsky, André Szymanski, Sabine Timoteo, Tom Wlaschiha, Mark Zak und Matthias Zera verkörpert. In der Rolle der Angeklagten standen Thomas Dehler, Nico Ehrenteit, Wilfried Hochholdinger, Christian Hockenbrink, Timo Jacobs, Ronald Kukulies, Lasse Myhr, Christian Pfeil, Torsten Ranft, Michael Rotschopf, Frank Röth, Matthias Salamon, Niels Bruno Schmidt, Tristan Seith, Michael Schenk, Arndt Schwering-Sohnrey, Adam Venhaus, Till Wonka vor den Kameras.
🚢 En la década de 1940, luego de la serie faraónica de obras en la provincia de Buenos Aires, Salamone debió exiliarse en Montevideo a causa de problemas judiciales. A su regreso fundó una empresa constructora familiar, llamada SAFRRA, con la que realizó, en 1950, dos edificios de departamentos. Al año siguiente, proyectó ampliaciones en el Colegio Michael Ham, en Vicente López.
📷 Las fotos las tomé en el año 2012
My mom died at the end of 2019, right before lockdown. When covid hit, I was still in a foggy state. My reaction to everything delayed. I am supposed to stay home? Not go outside? Fine! Those were precisely what my plans were for the next mumblemumble years anyway.
My brightest, most vivid memories would have been of the movies that I saw anyway, because movies are special to me and I am always watching them. But the way they informed my grieving process surprised me. One does not necessarily expect, in the moment, for anything to really make it better.
But the day of my mom's death—maybe the day of, maybe the last day that I saw my mom—I watched MIDSOMMAR for the first time. I didn't know the plot and was a little concerned about it but a lot unable to do anything about the way that I felt; the DVD was already in the DVD player, and I knew my mother was dying/dead. Florence Pugh's portrayal of grief was a real gift. I felt held by it. It was miraculous to me, frankly, how much it lifted me into a state of feeling able to engage with what was going on and how I was feeling. There is a rant in me—and it is in there pretty shallow; you can get at it easily—about how acting is a vital service. I feel about actors the way that THE OFFICE's Dwight Schrute feels about his urologist. It is something I cannot do myself all the time, validate my own feelings about life; I need someone to do it for me, and I am grateful.
Also right around the same proximity to my mom's death, I saw the "Original Cast Album: Co-op" episode of DOCUMENTARY NOW! in the midst of watching that season. It was funny, I loved it, it took me out of my troubles, and the milieu was so novel and fascinating to me—this is how a cast recording (something I had never thought about) is/was made?—that I looked up which real documentary the episode was based on.
Before addressing ORIGINAL CAST ALBUM: COMPANY and all it's done for me, a word on Stephen Sondheim:
I will pick up practically any biography of an artist. An all-time choice was the biography of Wendy Wasserstein by Julie Salamon. I didn't know her or her work, and it was such an absorbing book, I think about returning to it all the time. Ditto Michael Schulman's Meryl Streep biography. I love to get a feeling of people in time. The choice to buy Stephen Sondheim's biography was not totally random, but it happened to be on my person when, immediately after my mother's death, I was hit by a car! It wasn't fatal—here I am—it just tipped me over. But I was in a fragile state, I did cry a lot, and I explained to the driver that my mother had just died, and that was why I was crying, and that would be the only reason I cry about anything for a while, regardless of what it seemed like I ought to be crying about. Eventually, I got to a hospital that night to make sure nothing had happened to me, and I was stranded in a room for more than an hour, and all I had was this book about Stephen Sondheim.
I can't remember—I'm sure I could figure it out—whether I had the book before I saw the documentary, whether I'd already seen it by the time I started reading it—but it all feels like it happened more or less at once that I went from not knowing* who Stephen Sondheim was to knowing, you know, the reams of tedious details that a fan knows (how many lines he preferred to have on his yellow legal pads; his go-to chord structure).
As all of this is going on, I've been writing a novel about musicians since 2018, and I made a promise to myself that, once I finished the first draft, I would prioritize learning about music. I never did when I was in school, I always wanted to, and the novel would never be done if I did not understand what my characters are supposed to be doing. I finished the first draft at the very end of 2019, and how fortuitous for this guide to show up, again, more or less all at once (just in time for me to be truly knocked out when he died two years later, more or less exactly from the time of all of this).
The extent to which I've clung to that gift as a life raft during this time is best demonstrated by the fact that, at the end of 2019, I had no knowledge of anything pertaining to music other than liking it, and now I have been composing music since the spring of 2022 (composing was the very long goal, and I still can't get over the fact that I met it). Have I neglected other parts of my life? Big time. But this is still impressive to me considering I would have liked very much to simply pull a blanket over myself and be sad quite ongoingly.
(*- On the subject of "not knowing who Stephen Sondheim was," my only frame of reference was seeing his name in the credits, mostly on item descriptions online, for, like, CDs of the WEST SIDE STORY, INTO THE WOODS, and ASSASSINS cast recordings, all of which I happened to see randomly over the years, but it is the kind of coincidence that would leave one who doesn't know anything about musical theatre to wonder if, maybe, Stephen Sondheim has written every single musical ever.)
Back to the documentary:
Between my discovery of ORIGINAL CAST ALBUM: COMPANY and now, the Criterion Collection has issued an edition of it on DVD and Blu-ray that is beautiful, a dream come true, and it features the DOCUMENTARY NOW! parody episode—magnificent. At the end of 2019, though, my only option for owning it was as a Quicktime file. This is fine—whether or not I have internet access, I have access to ORIGINAL CAST ALBUM: COMPANY.
I have so much to express about ORIGINAL CAST ALBUM: COMPANY, but I will restrict myself only to how it has intermingled with my grieving process. It is, of course, a pleasure to see people lost in work that is demanding but, compared to grieving a loved one's death, a load of cake. In the moment, the first many times I saw it, it came with a fresh, invigorating spray of curiosity-provocation. I love to be curious. Curiosity can do a lot for me. And there is a lot to be curious about for the completely uninitiated when it comes to the byzantine, idiosyncratic, union-forged business practices of Broadway theatre. Knowing how much he loved rules, watching him in this documentary, I am so moved and so happy for Stephen Sondheim that he was from and dwelled in a land that loved rules so much.
I could go on and on and on about how cathartic it is to watch someone be difficult, a ruthless artist, rigid, upholding a high standard as a method of care. I could introduce the subject of Stephen Sondheim and mother issues and we would be here all day. One of the conditions of my loving a thing is that I just go on about it. But when I first saw ORIGINAL CAST ALBUM: COMPANY right around the time that my mother died, the big thing that it did for me was show me, in case I felt like allowing my grief to interfere with my plans, that working on music was going to be good, nice, and right, which in this case were all the same thing.
It's been comforting to rewatch MIDSOMMAR since the end of 2019 and, to be honest with you, I rewatch ORIGINAL CAST ALBUM: COMPANY on a basis so routine that, on second thought, to be honest with you about it would embarrass me too greatly, but the other movie that did something for me in the bewildering swirl that was right-around-the-time-my-mother died, maybe the day it happened, isn't one I revisit, but it is worth noting. I was not going to prepare any food that day, which I barely incentivize myself to do when I'm not pulverized by the cruelty of fate, so I bought, I think, a poké bowl (spicy tuna, etc.) and a Mediterranean-style grain bowl (ancient grains, spicy feta cheese, etc.), and ate them both promptly and simultaneously. I felt sick. I could not do anything lest I risk throwing up. I watched SPACE JAM (I did not throw up! A small miracle).
I am I-saw-SPACE-JAM-in-the-theatre-and-it-was-age-appropriate years old. The soundtrack was a presence in my home. I have no tender feelings about it, but, watching it for the first time as an adult, its ludicrousness did completely take me out of what was happening to my soul and body. That's not nothing!
Maybe more happened then and it isn't coming to me now, but this is how I remember it.
ARMORY IMPROV HOUSE TEAMS This Friday, May 6, 2022 9:30 PM - 11:15 PM The Tank 312 West 36th Street New York, NY, 10018 Rambunctious, daring, hilarious, provoking, and fun. Trust us - You've never experienced a night of improvisation quite like this. Is that a good or a bad thing?... Up to you. We'll be here goofing regardless. THIS WEEK’S TEAMS VARSITY BOWLING is... Bryan Packman Andy Fitch Michael Sause Sabrina Banes Madeline Hinchion Adrian Ashby Miranda West Jenny Hill THE LAST NEIGHBORS Billy Fenderson Janice McIntyre Channing Tookes Sarah Kim Dominique Salerno Mike Spara Annie Sage-Whitehurst ROGUE ONE Jibri Nurridin Jarrett Kotarski Joe Miles Marcus Haugen Jason Scott Quinn Kayleigh Reichman Rowena Lair Kihresha Redmond BEGINNERS' CLUB Matthew Schrader Tyler Salamone Brad Stuart Xavier Pearson Florence Friebe Alice Fishbein Joy Masters Leah Evans https://www.instagram.com/p/CdG1IatpKVg/?igshid=NGJjMDIxMWI=
Show You The Way by Thundercat (featuring Michael McDonald & Kenny Loggins) from the album Drunk - Directed By: Katarzyna Sawicka & Carlos Lopez Estrada (follow up to Them Changes)