By Maha ElNabawi
Does an individual reflect the image of a society? Or does the society dictate the image of a person? Does theater set the stage for a performance? Or do performers dictate the mood of the show?
These are just a few of the questions that German production and directing duo Stefanie Lorey and Bjorn Oovtraj pose in their exciting experiment in interactive theater titled, “Standbild” (Freeze-Frame).
“Standbild,” which debuted last Thursday in Alexandria’s Jesuit Culture Center sought out 30 local Alexandrians of all ages from all walks of life for an improvised performance, presenting an intriguing collage of experiences exploring the various societal effects of democratization.
Organized and commissioned by the Goethe Institute in Alexandria, “Standbild” was not only a well-executed experiment in theater, but more so, it was a brilliantly unique approach to facilitating socio-political discourse between spectators and performers alike.
“We started speaking with Stefanie and Bjorn in mid-March, right after the [Jan.25] revolution,” Daniel Stoevesandt, Director of Alexandria’s Goethe Institute, told Daily News Egypt. “We were looking for a theater piece or performance that could deal with the various issues of democratization.
“We didn’t want political theater that obviously or directly addressed societal issues, politics, or human rights. Instead, we wanted a different approach. We wanted an anti-performance performance, challenging both the actors and audience.”
Presented through a series of truly genuine, unscripted tableaux, imaginative lighting and set design, and the creative utilization of the Jesuit stage environment, “Standbild” redefined the traditional components of theater.
Amongst a full house, with audience members lining the edge of the stage, the show opened with a single performer, center-stage, standing in a stationary position under an oversized light bulb flickering above her and an illuminated metronome ticking monotonously.
Within moments a futuristic laser-sound chimed through the speakers and a blue-lit backdrop emerged, framing the stage with a cool, somber tone. Suddenly, attention was averted to a new performer who appeared at the edge of the stage, his spotlight in the form of a desk lamp placed next to his feet.
And so begins the captivating kaleidoscope of 88-second improvised scenes. Each story told in a way that was deeply personal, whether it was through comedy, poetry, song, or the occasional silence of pantomime.
“Originally, we thought we would hear them [the performers] vocalize their reactions to the revolution,” Stefanie Lorey told Daily News Egypt. “However, what we ended up with was a better understanding of what affects and shapes these members of society: their frustrations, their happiness, their desires.
“The beauty of it is we truly didn’t know what to expect being that in each of the two rehearsals. We did not have the performers recite their piece. We wanted to leave an element of surprise for everyone involved.”
One performer sang Frank Sinatra’s classic “My Way,” while another simply hushed the audience with the amplified sound of his heartbeat. Others recited a range of heart-felt monologues addressing unrequited love, judgments of society, and imposed gender or age roles.
“One of the most surprising aspects of this show was the communication and interaction between the performer, the space, and the spectator,” Oovtraj told DNE. “There seemed to be no barrier between the stage and audience which was truly unique and highly interesting.”
Performer Nadine Abu Shady was highly interactive with the audience, throwing candy to them and asking questions. She seemed to be confessing a secret to the spectator, at the same time, challenging them to interact with her. Eventually, her segment ends with her taking pictures of the audience, redefining the role of the observer and the subject.
“This was an opportunity to do something I never had before: get up on stage and say anything, do anything,” Abu Shady said. “We had no rules — I’m not an actor, I’m a photographer so I thought it would be fun to switch the perspectives within theater.”
Another highly interesting element distinguishing the show was the subtle yet purposeful use of lighting engineered by lighting designer, Katharina Stephan.
Each performer held a lamp in their hand. When their allotted time to speak was up; they plugged the lamp in and stood motionless next to it. As the show progressed, the stage became increasingly more lit, somehow giving the performers a unified front.
“The use of the lighting adds another layer to the show; it portrays a certain side of each performer because they were responsible for bringing their own lamp,” Lorey said. “It tells the audience something more about them, it’s their own spotlight.”
Lorey and Bjorn originally met in Giessen, Germany where they both completed their degree in applied theater studies. They later went on to create the original Berlin debut of “Stanbild” in 2004, which received high accolade and gained growing popularity with each new city it visited.
The complimentary pair brings forth dramatic texts, inventive set design and a challenging curiosity to the stage. They are constantly searching for innovative ways to create theatre and facilitate expression.
Like all strong works of literature, art and theater, “Standbild” succeeded in posing thought-provoking and challenging questions through a refreshing and sincere approach.
“Standbild” was a highly entertaining sociological experiment looking into the Alexandrian psyche caught in the societal purgatory of a post-revolution, pre-democratization state of mind.
