Caveats first: stupidly forgot to charge camera battery, so I missed the last two or three scenes. Camera also suffers in low or high-contrast theatre light situations, so these are mostly ones with without either, without fast movement, mainly still-ish scenes, occasionally where camera made the unexpected most of it, in a couple of moments catching the stillness in frenzy. And then there were a whole bunch that were just framed shitely. The remaining ones here are not exactly representative of the whole piece is what I’m saying.
Second seeing for me of Das Helmi’s Große Vögel, kleine Vögel, a fucking brilliant staging of Pasolini’s Uccellacci e uccellini. I was thinking of Castorf’s Kaputt after, which I saw at the Volksbühne in December, 5 hours of monolithic, unrelenting, angry Berlin theatre, not a shred of irony or entertainment, I left that piece at midnight, utterly exhilarated and ready to see the whole thing again and after this one I thought, between the ’bühne and the Helmis, Berlin has theatre nailed.
Große Vögel, kleine Vögel is much closer to entertainment, though kinda like Jim Carrey playing Andy Kaufmann in Man on the Moon, where he does the Carnegie Hall gigs, or when he says of entertaining the audience, “short of faking my own death or setting the theater on fire, I don’t know what else to do.”
Also was thinking of Castorf-Brecht Baal legal drama (the latter’s estate trying to shut down the production; the former calling the latter, “passé and absurd.”), and what the Helmis did to Pasolini’s film, and with both of them—I mean, what do you expect? I also thought, God (yeah, I actually asked God), why is Berlin dance so dreary and complete soul-sucking joyless bilge, why can’t it be like Castorf or the Helmis, why can’t it leave you feeling like you’ve totalled your car and you’re all laughing and feeling more alive than ever and invincible ’cos you walked out of certain death? (Even though you’re bleeding a little from your scalp.)
It’s fucking brilliant. Did I say that? Yup, I said that. Not long enough. It’s around 80 minutes and doesn’t feel it at all. There’s singing and dancing and songs and St Francis and talking birds, talking rabbits, talking other animals, gay love, more gay love, Pasolini looking sharp in a suit and Pasolini with a monster beer gut, guns, money, fucking, running, spitting, football (soccer, you know, the other football), a whole scene of Jesus coming down off the cross done as a film shoot, the Red Detachment of Women with fouettés! (I went off and watched some to remind myself of how gloriously Mao Tse-tung Thought Cultural Revolution it was. Glorious.) More songs, more St Francis, more birds, killing and eating the crow (probably had it coming), more Marxism, some whipping and bondage also, and a really unexpectedly calm, contemplative ending. Probably worth seeing a third time, says I who’ve seen now seven of their works. And! And! An ensemble who crush it! They sing (yeah probably worked that out), they dance, they play multiple roles, they play multiple instruments, they play with puppets, they make puppets, they are puppets, they go from dirty, spitting street toughs to Descent from the Cross and you believe it all. And they do it in that delightful Helmi way where it’s on the sharp edge of chaos, like they’re gonna catastrophically derail and take the audience out with them. It’s a fucking masterpiece.