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Hinkemann

Based on the play Hinkemann, the German by Ernst Toller

Director

Igor Vuk Torbica

Premiera

7. november 2015

Duration:

135 minut, z odmorom

The Zagreb Youth Theatre

Translator Boris Perić
Director Igor Vuk Torbica
Dramaturg Katarina Pejović
Stage Designer Branko Hojnik
Costume Designer Doris Kristić
Stage Movement Director Blaženka Kovač Carić
Composers Nenad and Alan Sinkauz
Lighting Designer Aleksandar Čavlek

Cast
Rakan Rushaidat
Mia Biondić
Ozren Grabarić
Frano Mašković
Doris Šarić Kukuljica
Milica Manojlović
Dado Ćosić
Jasmin Telalović
Petar Leventić
Milivoj Beader
Vedran Živolić
Marica Vidušić Vrdoljak
Nađa Perišić Radović

Ernst Toller wrote Hinkemann in the years 1921 and 1922, during his five-year term of imprisonment for his involvement in the German November revolution and the government of the Bavarian Soviet Republic. He subtitled it a tragedy, since it deals with an inevitable and unmistakable conflict. The title of the play is derived from a German verb hinken (to limp). It is the surname of the shell-shocked veteran Eugen Hinkemann who lost his virility in the war. Toller dedicated it to the proletarians of the world.

Katarina Pejović, the production dramaturg reads Hinkemann as a play, which speaks to us by facing challenges and barriers on a daily basis. »If we are truly open to our own heart of darkness, we know how hard it can be to face it all. To endure in time, to last in space. And often, too often, we see people breaking down. Sometimes they manage to recover and move on. Sometimes they do not. At what point is a person broken down beyond repair? There is Ernst Toller. There is Eugen Hinkemann. There we are, Toller’s and Hinkemann’s successors.«

Igor Vuk Torbica, the director of the Zagreb Youth Theatre Hinkemann after Toller’s tragedy Hinkemann, the German, belongs to a younger generation of Serbian directors. According to Nataša Govedić, a theatre critic, his grotesque and disturbing staging of Hinkemann has a feel of “performed poetry, close to an expressionist scream and a radical postmodern scepticism”, which is not to be missed.

Slovene surtitles

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