Children of the sun
Translation by Ulrike Zemme
Version by Stephan Kimmig and Sonja Anders
Maxim Gorki wrote Children of the sun 1905 in the Peter Paul Fortress, where he was arrested for his participation in protests against the military action of the so-called "Blood Sunday". The shots at the workers’ demonstration ushered in the first Russian revolution. In his play, Gorki takes the cholera riots of 1890 as a pretext and tells of the anticipation of a political and social catastrophe. He paints the dark comic image of a society that, torn apart by social and cultural conflicts, is unable to create a better world. In and out of the house of the scientist Protassov and his wife Jelena: the artist Wagin, who is in love with Jelena, the rich widow Melanija, who in turn loves Protassow, and the veterinarian Tschepurnoj, who has long been fond of Protassow’s sister Lisa. Finally, the caretaker Yegor, who understands his job but drinks and beats his wife. All characters are looking for a fulfilled, a better, a valuable life. How do you have to work, how do you live together to feel something like that? They do not understand each other, are far away, and already fail in everyday life. Everyone has set up in his cocoon neurotic, unhappy, selfish and profoundly funny. Outside on the street, "downstairs" there is no real revolt. There is no utopia in sight, and it looks like it will go on for a while.
Awarded with FAUST Theater Prize in the category Best director
Children of the sun
An ensemble of actors has gathered at the Deutsches Theater that has hardly any peers. The controlled nonchalance, the circulated casualness with which these actors speak their dialogues – that is high art, even if the game version winking towards the noble boulevard with its teasing updates is halfway there – at least! – accommodates. The glorious seven, which Kimmig’s performance gathers, masterly integrates a certain level of driveability, which you as a spectator quickly associate with naturalness, into the play of your body and, above all, your hands. You like to look there, very much: whether it is an embarrassingly usual smile by Ulrich Matthes or a casual leaning by Nina Hoss, a nesting by Sven Lehmann or a hushed gesture by Katharina Schüttler – they all play it extremely well.
The full review can be found here. An ensemble of actors has gathered at the Deutsches Theater that has hardly any peers. The controlled nonchalance, the circulated casualness with which these actors speak their dialogues – that is high art, even if the game version winking towards the noble boulevard with its teasing updates is halfway there – at least! – accommodates. The glorious seven, which Kimmig’s performance gathers, masterly integrates a certain level of driveability, which you as a spectator quickly associate with naturalness, into the play of your body and, above all, your hands. You like to look there, very much: whether it is an embarrassingly usual smile by Ulrich Matthes or a casual leaning by Nina Hoss, a nesting by Sven Lehmann or a hushed gesture by Katharina Schüttler – they all play it extremely well.
Bolzano
May 7th and 8th, 2014
Burgtheater Vienna
March 16 and 17, 2013
State Theater Dresden
January 5 and 6, 2013
Hamburg theater festival
4th and 5th October 2012
Acting Frankfurt
April 30 and May 1, 2012
Fuerstenfeldbruck
December 14, 2011
Leipzig, Central Theater
October 15 and 16, 2011
Bregenz Festival
August 12-14, 2011
International May Festival Wiesbaden
May 11th and 12th, 2011
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