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Singing in Dark Times: Report from Berlin

Singing in Dark Times: Report from Berlin Singing in Dark Times Report from Berlin Matt Cornish THEY LIVE It was early October in Berlin, cold and damp, but not uncomfortable, as I rode my bike from Kreuzberg into Mitte, across the Spree and under the S-Bahn to the Berliner Ensemble. Outside the Theater am Schiffbauerdam, I parked near the Brecht statue and walked over to wait in a long line. When it was my turn, I showed an usher my certificate of full vaccination, my picture identification, and my ticket; he gave me a paper armband, like what you would get to enter a club, and I walked through the BE’s big wooden doors. It was not my first time back in the theatre since the beginning of the Covid-19 pandemic; here and there I’d seen performances, mostly outside. But this was different. In a crowded auditorium watching Nico Holonics as Mackie Messer in Barrie Kosky’s show-biz spectacle Die Dreigroschenoper [The Threepenny Opera, 2021], I felt back. We were alive, together. VACCINATED, BOOSTED, TESTED For the academic year, I have been living again in Berlin, for the first time in seven years. It has been strange. The pandemic waxing and waning, the German parlia- mentary elections, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Singing in Dark Times: Report from Berlin

Cornish, Matt
PAJ: A Journal of Performance and Art , Volume 44 (3): 15 – Sep 1, 2022
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Publisher
MIT Press
Copyright
© 2022 Performing Arts Journal, Inc.
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj_a_00623
Publisher site
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Abstract

Singing in Dark Times Report from Berlin Matt Cornish THEY LIVE It was early October in Berlin, cold and damp, but not uncomfortable, as I rode my bike from Kreuzberg into Mitte, across the Spree and under the S-Bahn to the Berliner Ensemble. Outside the Theater am Schiffbauerdam, I parked near the Brecht statue and walked over to wait in a long line. When it was my turn, I showed an usher my certificate of full vaccination, my picture identification, and my ticket; he gave me a paper armband, like what you would get to enter a club, and I walked through the BE’s big wooden doors. It was not my first time back in the theatre since the beginning of the Covid-19 pandemic; here and there I’d seen performances, mostly outside. But this was different. In a crowded auditorium watching Nico Holonics as Mackie Messer in Barrie Kosky’s show-biz spectacle Die Dreigroschenoper [The Threepenny Opera, 2021], I felt back. We were alive, together. VACCINATED, BOOSTED, TESTED For the academic year, I have been living again in Berlin, for the first time in seven years. It has been strange. The pandemic waxing and waning, the German parlia- mentary elections,

Journal

PAJ: A Journal of Performance and Art – MIT Press

Published: Sep 1, 2022

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