" An unknown channel is found on a special frequency. It broadcasts the news of a different kind of place: Clarenville. Clarenville was lost at some point and follows its own rules: A ferret suddenly turns into a clearing. An astronaut is struck by a sponge and clocks become stubborn. Equipped with a surveillance camera, television monitors and an old record player, a dense world of images is created from a hodgepodge of found objects. The narratives are the fantastic documents of a lost world. "
Clarenville is an object & puppet theater piece.
The audiences is watching two actors constructing a film live in front of a camera at a table. This is simultaneously transmitted to many televisions distributed in the room, together with music. In the style of silent and genre films, the performance works with set pieces from re-enacted film quotes, objects, familiar narrative structures and film tricks. The story told is fantastical, not directly narrative, and both a description of a fictional place and a reflection on a medium. The players manipulate the image in direct extension of the picture tube - the repeatable, preserved television image becomes a live act.
Shows: 22.10.2010 – Waggonhalle Marburg (Skizze) / 17.08.2011 – Raum für Kultur, Frankfurt / 22.09.2011 – Exkurs Zwischenraum, Gießen / 04.02.2012 – X Stunden HTA, Frankfurt Lab / 18.03.2012 – Exkurs Zwischenraum, Gießen / 25.07.2012 – Hardthof/ARThof, Gießen / 14.12.2012 – Ludwigstraße 6, Gießen / 18.09.2013 – Wunder der Prärie, Mannheim
[...] The special feature of the evening lies in the manner of the performance: [...] The puppeteers bring to life the idea of many children; according to which in the TV box live little men who provide movement behind the glass pane. The old television sets, the early-modern music player, the camera, the plush ferret, the smoky hall and the slightly distorted old western country music eventually melt together into a performance that will be remembered for a while [...].
Giessener Allgemeine Zeitung vom 18.12.2012
"[...] Yet it is quite simple: If you know how the "Hamlet" is made, people may believe less in "Hamlet", but paradoxically even more intimately to the theater than a machine that can actually make mere fantasies/dreams figuratively real. And if you know where the buildings are that Godard used for "Alphaville" has used, you may believe less in "Alphaville", but even more to a world called "Godard"in which a clever eye notices the fantastic and the future in the present. So, first special achievement of "Clarenville": A currently very popular principle in large-scale entertainment is scaled down to a room with a few people, an intimate miniature, and thus brings the very large (space...) into the completely transparent. [...] One enjoys the diversity of frames without any of them ever collapsing or being dismissed - extremely competent, extremely sovereign. [...] the heterogeneity, the non-matching of the characters is simply emancipated by the fact that they enter into effective, actionable relationships with each other, which one knows from the human world from talking to each other on the train to helping each other on a long wandering.
The fourth achievement is the plot itself: like the great games with the novel form by the likes of Laurence Sterne or William S. Burroughs, it consists practically only of digressions, but you never lose interest anyway, because the digression is only the trajectory on which the concept can prove its enormous power for quite different narrative vales, from grotesque comedy somewhere between Quay Brothers and Monty Python to melancholy dirge.
The linguistic wit of the intertitles does the rest, icing on the cake."
Dietmar Dath, for presentation on September 18, 2013, Mannheim