„Bernada Albas Haus“ – Unterdrückung durch die Matriarchin

von Katharina Klasen135 Kommentare

Am 3. Mai feierte „Bernarda Albas Haus“ aus der Feder des spanischen Schriftstellers Federico García Lorca seine Uraufführung im Saarbrücker Theater Alte Feuerwache. Jedoch nicht als Theaterstück, sondern als Handlungsballett. Statt mit Worten drückten die fünf unterdrückten Töchter Bernarda Albas ihren Selbstbestimmungskampf durch Bewegung aus – eine Inszenierung von Ballettdirektor Stijn Celis, die unter die Haut geht.

Saarbrücken. Der zweite Ehemann Bernarda Albas ist verstorben. Um der Dorfgemeinschaft ihre Tugendhaftigkeit unter Beweis zu stellen, ordnet die sechzigjährige Matriarchin eine achtjährige Trauerzeit an – was für ihre fünf Töchter im Alter von 20 bis 39 Jahren zum Verhängnis wird. Denn die strenge Bernarda Alba fordert von ihren Töchtern absoluten Gehorsam. Vergnügungen und Freuden sind verboten. So wird das Elternhaus für sie zum Gefängnis, aus dem es kein Entrinnen gibt.

In der Welt ihrer Vorstellung träumen Angustias, Magdalena, Amelia, Martirio und Adela jedoch von Liebe und Freiheit. Bereits in der ersten Szene sieht man sie zunächst engumschlungen mit in glänzendem Orange gekleideten Herren tanzen – während sie selbst strenges Schwarz tragen. Doch ihr Tanz ist kein leichtfüßiges romantisches Schweben, er ist ein Aufbegehren, ein Kampf: ein Wegstoßen und Anziehen, ein Ablehnen und Begehren. Mal sind die Bewegungen der Tänzer und Tänzerinnen langsam und elegant, dann wieder blitzschnell und dynamisch. Es ist ein Kampf der jungen Frauen um Freiheit und Selbstbehauptung.

Während männliche Figuren in der literarischen Vorlage von Federico García Lorca überhaupt nicht (beziehungsweise nur angedeutet) vorkommen, gesteht Ballettdirektor Stijn Celis seinen Tänzern mehr Bühnenpräsenz zu. In der ersten Szene dürfen sechs Herren mitmischen, die als „sagenhafte Könige“, die Töchter Bernada Albas sowie die Magd La Poncia verführen – allerdings nur, wie bereits erwähnt, in deren Fantasie. Auch die Titelrolle hat Stijn Celis, der für die Choreografie verantwortlich zeichnet, männlich besetzt: Pascal Séraline, dessen Gesicht stets unter einem schwarzen Schleier verborgen bleibt, verkörpert die Hausherrin so dominant und furchteinflößend, dass sich der Zuschauer ein ums andere Mal wie in einen Horrorfilm hineinversetzt fühlt. Noch dazu, wenn Séraline durch den (für die Alte Feuerwache untypischen) Mittelgang schleicht und sich den Theaterbesuchern bedrohlich nähert.

Von der Außenwelt isoliert und in der Enge von Bernarda Albas Haus ihrer Freiheit beraubt, wundert es nicht, dass die Töchter immer gereizter und unberechenbarer werden. In ihrer Rastlosigkeit und beseelt von dem Wunsch nach Ausbruch stoßen sie immer wieder ungebremst gegen die Innenwände des Hauses, das sie gefangen hält. Das Aufschlagen ihrer zarten Körper auf den harten Metallplatten tut schon beim bloßen Zusehen weh. Die Verzweiflung der Frauen wird für den Zuschauer geradezu physisch greifbar. Eine Katastrophe ereignet sich, als die Schwestern, die doch eigentlich zusammenhalten sollten, beginnen – von Neid und Missgunst getrieben – sich gegenseitig zu bekriegen.

Der ältesten Tochter Angustias (Katherine Lake) wird gestattet, sich mit dem attraktiven Pepe el Romano zu verloben. Doch auch ihre jüngste Schwester Adela (Stacey Aung) geht eine Beziehung mit Pepe ein – heimlich, versteht sich. Dies bleibt den Schwestern und auch der Magd nicht lange verborgen. Es ist jedoch Martirio (Sarah Philomena Schmidt) die das Unglück schließlich heraufbeschwört, indem sie Adela bei der Mutter denunziert. Die tyrannische Hausherrin gerät in Rage und versucht den in ihr weiblich dominiertes Territorium eingedrungenen Pepe zu erschießen. Adela, die fälschlicherweise annimmt, dies sei der Mutter gelungen, erhängt sich daraufhin.

Neben der energiegeladenen Bewegungssprache, die Choreograph Stijn Celis für Lorcas Tragödie erschaffen hat, ist die zeitgenössische Musik von Flamencogitarrist Michio eine wichtige Komponente, die die beklemmende Atmosphäre in Bernarda Albas Haus erfahrbar macht. Mal agiert Michio, der bei jeder Vorstellung für Live-Musik sorgt, mit dynamischen und kraftvollen Elektro-Sounds, mal räumt er der klassischen spanischen Konzertgitarre viel Raum ein: Es gibt sowohl mitreißende fröhliche Flamencomusik als auch melancholische Gitarrenklänge. Diese gelungene Mixtur aus Tanz und Musik verspricht dem Publikum ein düster-tragisches, aber in jedem Falle sehenswertes Balletterlebnis.

Infos des Staatstheaters Saarbrücken und Vorstellungsdaten: http://bit.ly/1QOO4uj
Tags #Balett #Bernarda Albas Haus #Federico García Lorca #Saarbrücken
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