#jan Kriz

[mangledpuppet]

THE WAY HIS HE SMILES AS ALFRED TAKES THE SPONGE BACK

[ulkaralakbarova]

An affair between the second in line to Britain’s throne and the princess of the feuding Irish spells doom for the young lovers. Credits: TheMovieDb. Film Cast: Tristan: James Franco Isolde: Sophia Myles Marke: Rufus Sewell Donnchadh: David O’Hara Wictred: Mark Strong Melot: Henry Cavill Bragnae: Bronagh Gallagher Bodkin: Ronan Vibert Edyth: Lucy Russell Leon: JB Blanc Morholt: Graham Mullins Simon: Leo Gregory Orick: Dexter Fletcher Aragon: Richard Dillane Kurseval: Hans Martin Stier Kaye: Thomas Morris Anwick: Jamie Thomas King Rothgar: Wolfgang Müller Lady Serafine: Cheyenne Rushing Lady Marke: Barbora Kodetová Young Isolde: Isobel Moynihan Young Tristan: Thomas Brodie-Sangster Tournament Judge: Gordon Truefitt Young Melot: Myles Taylor Young Simon: Jack Montgomery Luther: Marek Vašut Irish Soldier: David Fisher Lady Aragon: Bronwen Davies Paddreggh: Philip O’Sullivan Tournament Crier: Nevan Finegan Coronation Priest: Jón Ólafsson Widseth: Todd Kramer Widseth’s Sister: Winter Ave Zoli Pict Guard: Miroslav Šimůnek Funeral Priest: Kevin Flood Film Crew: Director: Kevin Reynolds Music: Anne Dudley Editor: Peter Boyle Director of Photography: Artur Reinhart Executive Producer: Jim Lemley Casting: Kate Dowd Executive Producer: John Hardy Producer: Moshe Diamant Producer: Lisa Ellzey Producer: Giannina Facio Producer: Elie Samaha Executive Producer: Ridley Scott Executive Producer: Tony Scott Production Design: Mark Geraghty Set Decoration: Johnny Byrne Costume Design: Maurizio Millenotti Costume Supervisor: Hana Kučerová Writer: Dean Georgaris Executive Producer: Frank Hübner Executive Producer: Matthew Stillman Co-Producer: Anne Lai Co-Producer: Jan Fantl Co-Producer: Morgan O’Sullivan Co-Producer: James Flynn Stunt Coordinator: Nick Powell Unit Production Manager: John J. Kelly First Assistant Director: Robert Huberman Associate Producer: David Minkowski Associate Producer: Christian Frohn Associate Producer: Jennifer Leshnick Associate Editor: Pamela Power Associate Editor: Stephen Boucher Hairstylist: Stefano Ceccarelli Hairstylist: Jiří Farkaš Hairstylist: Alena Marečková Hairstylist: Mario Michisanti Hairstylist: Adéla Robová Hairstylist: Jaroslav Šámal Key Hair Stylist: Mirella Ginnoto Key Makeup Artist: Manlio Rocchetti Art Department Coordinator: Marketa Puzmanova Assistant Art Director: David Voborský Assistant Art Director: David Vondrasek 3D Animator: Ales Dlabac 3D Animator: Zbynek Travincky Visual Effects Supervisor: Jaroslav Polensky Title Designer: Anthony Wonsoff Visual Effects Coordinator: Jan Vseticek Visual Effects Producer: Vít Komrzý Visual Effects Supervisor: Marius Mohnssen Special Effects Supervisor: Pavel Sagner Special Effects Supervisor: Kevin Byrne Additional Still Photographer: Larry D. Horricks Camera Operator: Erwin Lanzensberger Camera Operator: Kacper Lisowski Second Unit Director of Photography: Miro Gábor Gaffer: Tony Devlin Key Grip: Helge Felgendreher Key Grip: Ivo Grešák Rigging Gaffer: Kriz David Still Photographer: Rico Torres Casting: Nancy Bishop Casting: Anja Dihrberg Casting: Kirsty Kinnear Assistant Costume Designer: Giovanni Casalnuovo Assistant Costume Designer: Mariano Tufano Costume Supervisor: Šárka Zázvorková Costume Supervisor: Sarka Zvolenska Key Costumer: Cathy Smith Seamstress: Larisa Šrámková Set Costumer: Rebecca Higginson Digital Intermediate: Mandy Rahn Assistant Editor: Geraint Huw Reynolds Music Editor: Sophie Cornet Music Editor: John Warhurst Script Supervisor: Catherine Allinson Script Supervisor: Peter J. Clark Choreographer: Lucie Samcova ADR Editor: Gareth Rhys Jones Boom Operator: Roman Rigo Foley: Jack Stew Foley Editor: Sefi Carmel Sound Designer: Samir Foco Sound Designer: Zeljko Lopicic-Lepierre Sound Effects Editor: Peter Crooks Sound Re-Recording Mixer: Howard Bargroff Sound Re-Recording Mixer: Graham Daniel Sound Re-Recording Mixer: Martin Schinz Sound Effects Editor: Srdjan Kurpjel Standby Art Director: Rory Bruen Movie Reviews:

[lemiroirinfo]

Pati Zansèt Ayisyen fè 10 rekomandasyon a 9 manm konsèy prezidansyel tranzisyon an

ZAP fè 10 rekomandasyon a konsey prezidansyel tranzisyon an pou mete peyi a kanpe. Pami yo li mande rezoud kriz sekirite a, mete kanpe bon jan konsey electoral ak kreye kek program apèzman sosyal pou ede fanmi ki pi pov e fasilite aktivite ekonomik yo reprann nan peyi a. Cap-Haïtien, https://www.lemiroirinfo.ca, Mardi 07 Mai 2024 Depi pliske 3 lane, n’ap tatonnen ak yon enstabilite Politik  ak…

[musispoedmacarsiv]

15 Şubat 2024 Galatasaray Sparta Prag Maçı

*Ali Sami Yen Spor Kompleksi'nde saat 20:45'te başlayacak olan UEFA Avrupa Ligi Eleme Turu Play-off'u ilk maçı. Mücadeleyi İspanyol hakem Alejandro Hernandez yönetecek. Ucu ucuna kaçan, biraz da sinir bozucu biçimde sonlanan Şampiyonlar Ligi macerasının ardından UEFA Avrupa Ligi'ne geçiş yaptık. 2 aylık aranın bitimiyle de yeni serüvene başlıyoruz. Çek ekibi gerek ligindeki performansı gerek Avrupa'da yaptıkları ile dikkati hak ediyor. Avantajlı skorla oraya gitmek şart. Net bir zafer çok iyi olur. Bekleyip görelim. Yürek dolusu başarı dileklerimizi sunuyoruz Aslanlar'a.

*Exxen'den naklen yayınlanacak olan maç.

*19. dakikada Kerem Demirbay'ın attığı golle Galatasaray 1-0 öne geçti. İyi bir zamanda ferahlatan gol geldi. Arayı açmaya bakalım.

*İlk yarı sonunda 1-0 öndeyiz.

*47. dakikada Angelo Preciado ağları sarstı ve Sparta Prag 1-1 yaptı. Çaprazdan ip gibi gitti top. Yine devre başında kriz ve panik havası ile dağılan ortam. Sakin kalalım lütfen.

*60. dakikada Dries Mertens güzel vuruşla golü buldu ve 2-1 ile yeniden üstünlüğü aldık. Ladislav Krejci'nin kafasına da çarpmıştı. Yazık olmadı neyse ki.

*62. dakikada Victor Nelsson direkt kırmızı kartı gördü ve Galatasaray 10 kişi kaldı. Bire birde kalan rakibi ceza sahasına girmeden indirdi. Bu yönden iyi tabi ama işler sarpa sarmasa bari.

*65. dakikada Jan Kuchta kafa vuruşuyla sahneye çıktı ve Çek ekibi 2-2'yi yakaladı. 5 dakikada neler oldu. İnanılmaz.

*80. dakikada Matej Rynes ikinci sarı kartın peşine kırmızı kartı gördü. Sparta Prag da 10 kişi devam ediyor. Haydi, bir ateşlemeye vesile olsun!

*90+1. dakikada Mauro Icardi yazdı golünü ve Cimbom'a 3-2'yi verdi. Yine sürprizini yaptı. Öyle ihtiyacı vardı ki buna.

*Galatasaray 3-2 kazandı. Bu kadar zorlaştırmanın gereği var mıydı? Neyse ki aksi sonuç yaşamadık. Bir tık da olsa öne gideceğiz deplasmana. Bu maç dikkatlerin yüksek olması gerektiğini kanıtladı zaten.

[tanz-der-vampire-musical]

Ok guys I have time to cut and upload some audios and videos...but I need some motivation 😉...

I still have some content available from last year. I can upload songs from two TdV shows:

TdV 18.1.2019 with Jan Kriz, Diana Schnierer, Raphael Groß in Berlin

TdV 10.3.2019 with Robert Meyer, Diana Schnierer, Raphael Groß in Berlin

And would you be interested in the videos of those following concerts?

Mark Seibert - Mark mal anders 2019

Jan Ammann - A musical lovestory 2020

Musical Tenors - Older but not wiser 2018

As these are officially filmed DVDs I definitely won't share the full videos but I could share the TdV parts and/or some more songs if you like.

I just don't want to invest my time into cutting videos and audios if no one is interested. If only one person aks I will upload what is requested. Just comments on the post or drop an ask in my inbox.

[hinter-dem-spiegel]

Tomorrow is Jan Kriz´ Derniere. Time to portray him. He was a very good count.

[mellyorablack]

I went to see Tanz der Vampire again yesterday. Even though I was at first quite disappointed that neither David Arnsperger (Krolock) nor Csaba Nagy played due to illness I found myself enjoying the show very much. Jan Kriz, who played Krolock, did an excellent job. He’s one of the really good-looking Krolocks even though I think he looks a bit too young for the part. But with his voice and attitude in this part he felt more like ‘Rockstar’ Krolock and I really liked that. ;) I also love Christian Funk more and more as Herbert (he is in a close competition with Kirill Gordeev for my favourite Herbert!) and I was so happy we got to meet him at the stage door after the show (as can be seen in the picture). He even rushed inside again to get us some autograph cards that he signed for us and stayed a long time with us despite the party that was going on inside (which actually was for him as it’s his birthday today). We had a lot of fun with him, he’s such a sweet guy! He even told us he noticed that we had cheered for him when he first came on stage as Herbert. XD I really wanted to talk to Jan too, but he rushed by and when I finally recognized him he was already quite far off so we decided not to run after him. And we wouldn’t have talked to Christian if we had. There’s always another time. ;) And that will be next week hopefully! (That will be my 5th time Tanz der Vampire in one month. XD)

Also we talked to some nice ladies after the show who complimented me on my vampiric outfit and who were quite stunned when I told them I had even been to St. Petersburg for Bal Vampirov and that my friend and I travel all over the country to see musicals. ;)

[ballerinadellamusica]

Tanz der Vampire Hamburg November calendar: Graf Von Krolock: Jan Ammann (principal) Jan Kriz (understudy) Kirill Zolygin (understudy)

Unconfirmed dates: Kirill-all dates Dates subject to changes

[metruksehir-blog]

Erdoğan'ın avukatından, Almanya'yla krize neden olan şiir için temyiz başvurusu / Foksmedya, son dakika, haberler

Almanya ile Türkiye arasında krize neden olan komedyen Jan Böhmermann’ın Cumhurbaşkanı Recep Tayyip Erdoğan’a yönelik şiirine karşı hukuk mücadelesi sürüyor. Erdoğan’ın avukatı, şiirin tamamen yasaklanması için temyize gitti. Kaynak : Erdoğan'ın avukatından, Almanya'yla krize neden olan şiir için temyiz başvurusu

[devrimcikadinlar]

Arzu Demir yazdı: 'Sosyal kapitalizm' değil sosyalizm! 28 MAYIS 2020 PERŞEMBE Ne virüsün bulaşma koşulları ne tedavi süreci ne de salgınla birlikte derinleşen krizin sonuçları bakımından yoksullar ile zenginler aynı gemide değil. Zaman yeni bir ayaklanmalar dönemine doğru ilerlerken, ezilenlere çıkış yolu olarak yeniden kapitalizmi göstermek, tekellerin çıkarlarını korumak anlamına gelir. Gerekli olan kapitalizmin cenazesini kaldırmaktır.

Çok değil daha birkaç ay öncesine kadar ezilenlerin dünyayı saran ayaklanması üzerine konuşuyor, yazıyorduk. Sudan'da "devrim" diye sokaklara dökülen halkın ayaklanması, diktatör Beşir'i devirmişti. Lübnan'da "Whatsapp ayaklanması" diye anılan ayaklanma, yoksulların neoliberal politikalara karşı isyanıydı. Şili'de yoksulların "Biz 30 peso için değil, bize dayatılan 30 yıllık liberal politikalara karşı savaşıyoruz" sözü isyanın özetiydi. İran, Irak, Haiti, Endonezya, Fransa, Kolombiya... Ezilenler öfkesini emperyalist küreselleşmeye yöneltmişti. Araya, kapitalizmin ipliğini daha net ve açık bir biçimde pazara çıkaran koronavirüs salgını girdi.

Şimdi koronavirüs sonrasına dair tahminlerin başında yeni bir ayaklanma beklentisi geliyor. Bunu, burjuvazinin ideologları da söylüyor. Örneğin Henry Kissinger, 3 Nisan tarihli Wall Street Journal'da "Gerçek şu ki, dünya koronavirüsten sonra asla aynı olmayacaktır" diye belirttikten sonra, "dünya ekonomisindeki yaraları iyileştirmeye çalışın" diye devletlere ve sermayedarlara akıl veriyor. Diğer yandan burjuva sol liberal aydınlar da kapitalizmin krizine çare arıyor. Kısa bir süre önce 650 aydından "Krizden Çıkış Manifestosu" geldi. Söz konusu manifestoda "işyerinin demokratikleştirilmesi" ve "işin meta olmaktan çıkartılarak, herkes için faydalı istihdamın sağlanması" önerisinde bulundular. Kulağa hoş gelen bu önerileriyle kapitalizmin vahşi yüzünü kendi yaşamlarında apaçık gören emekçilere, "sosyal kapitalizm" vaat ettiler. "Çıkış yolu" diye emekçilere gösterdikleri, kapitalist sistemi, 2. Emperyalist Paylaşım Savaşı sonrası günlere döndürmek. Bu mümkün değil.

Hatırlayalım, kapitalizm, o dönemde, Sovyetler Birliği'nin varlığı ve güçlü işçi hareketi nedeniyle, emekçilere kimi tavizler vermek zorunda kalmıştı. O günün koşulları için bu tavizleri vermesi de mümkündü. Ama bugün, 2008 yılından bu yana kriz içinde olan ve salgınla birlikte bu krizi daha da derinleşen kapitalizmin bu tavizleri vermeye ne zemini ne de niyeti vardır. "İşin meta olmaktan çıkartılması" da sermaye sınıfı ile işbirliği ile değil, ancak ve ancak ona karşı keskin bir sınıf mücadelesi ile mümkün olabilir. Ücretli emek olduğu sürece iş meta olarak kalacaktır. İşgücü ancak üretim araçlarının toplumsallaştırılması ile meta olmaktan çıkacaktır.

Koronavirüs sonrasına dair bir başka arayış ise 17 Mayıs'ta açılış toplantısını Noam Chomsky'nin konuşmasıyla gerçekleştiren İlerici Enternasyonal oldu. Aslında bu oluşumun ilk çağrısı 2018 yılında yapıldı. Çağrıyı yapan iki kuruluştan biri Yunanistan'ın eski Maliye Bakanı Yanis Varufakis ve Hırvat siyasi aktivist Srećko Horvat tarafından kurulan DIEM25. Diğeri de Demokrat Partili Senatör Barnie Sanders ve eşi Jan Saders'in 2016'da kurduğu Sanders Enstitüsü.

İlerici Enternasyonal'in Konsey Üyeleri'nden biri İzlanda Başbakanı Katrín Jakobsdót. Independent Türkçe'de yayınlanan "Şimdi Yeni Bir Enternasyonalin Tam Zamanı" başlıklı yazısındaki "Kovid salgınının ortaya koyduğu şey, bir kez daha, herkes için sağlık ve dayanıklı refah sistemlerinin sadece sosyal adaletin değil, aynı zamanda düzgün işleyen toplumların da temel unsurlarından olduğudur" sözleri, İlerici Enternasyonal'in sınırlarına dair fikir veriyor. "Düzgün işleyen toplum" dedikleri şey; istikrardır. Kapitalist toplumda ise istikrar, işçiler ve emekçiler için "sefalet ve sömürünün istikrarı"ndan başka bir anlam taşımaz. İzlanda Başbakanı söz konusu yazısında ayrıca, "Etkileri eşitsiz dağılıyor olsa bile, insanlığın bir bütün olarak yüzleştiği bu risk faktörleri bu yönden 'demokratik'tir" diye yazıyor. Bu cümle salgının başından beri burjuvazisinin öne sürdüğü "Aynı gemideyiz" yalanının bir başka ifadesi. Ne virüsün bulaşma koşulları ne tedavi süreci ne de salgınla birlikte derinleşen krizin sonuçları bakımından yoksullar ile zenginler aynı gemide değil.

Zaman yeni bir ayaklanmalar dönemine doğru ilerlerken, ezilenlere çıkış yolu olarak yeniden kapitalizmi göstermek, tekellerin çıkarlarını korumak anlamına gelir. Gerekli olan kapitalizmin cenazesini kaldırmaktır. Bunu da ancak, Marksist Teori Dergisi Yayın Kurulu'nun geçtiğimiz hafta sonu 7 dilde yayınladığı manifestoda alt��nı kalınca çizdiği gibi, "devrim" gerçekleştirebilir. Evet, "Kapitalizmin cenazesini devrim kaldırır."

Yazının son cümlesi de MT'nin manifestosundan olsun: "Kapitalizm yıkılıyor. Yapılması gereken onu onarmak değil, kirişlere asılmaktır."

[goalhofer]

2019 FIBA World Cup Czech Republic Roster

Forwards

#1 Patrik Auda (A.S. Pistoia Cestino 2000/Ivancice)

#5 Blake Schilb (Champagne Chalons-Reims Panier/Rantoul, Illinois)

#6 Pavel Pumprla (Kosikova Nyumburk/Zabreh)

#9 Viktor Pulpan (B.K. Pardubice/Prague)

#10 Petr Herman (Loyola Marymount University Lions/Centralni Cesky)

#11 Lukas Palyza (B.K. Olomoucko/Ostrava)

#13 Martin Peterka (Kosikova Nyumburk/Pardubice)

#17 Jaromir Bohacik (Kosikova Nyumburk/Ostrava)

#21 Michal Mares (U.S.K. Praha/Prague)

#31 Martin Kriz (Kosikova Nyumburk/Pardubice)

#77 Vojtech Hruban (Kosikova Nyumburk/Prague)

Guards

#7 Vit Krejci (Olivar Baloncesto/Prague)

#24 Jakub Sirina (B.K. Opava/Ostrava)

#31 Tomas Satoransky (Chicago Bulls/Prague)

#32 Petr Safarick (B.C. Unikol Kolin/Prague)

#44 Tomas Vyoral (Kosikova Nyumburk/Prague)

#98 Jakub Tuma (U.S.K. Praha/Prague)

Centers

#12 Ondrej Balvin (C.B. Gran Canaria-Claret S.A.D./Usti Nad Labem)

#20 Simon Pursl (Turi Svitavy/Prague)

#42 Jan Vesely (Fenerbahce Basketbol/Ostrava)

[coffintanz]

Tanz der Vampire Berlin 25-10-2018 Review

I went to see Tanz in Berlin. This review is different than others that I’ve done because I didn’t love it, I liked it. That’s a very strange opinion for me to have because I usually am impressed with every single Tanz show I see, but this one didn’t meet my expectations. Of course I’ve also got some good things to say. The rest of the review is below the cut due to it being quite a long text.

The theatre

Before I went to see the show I thought of the Theater des Westens as a very iconic Tanz theatre because the show had already been there twice, both with very successful runs (according to Wikipedia). I presumed that theatre would be a very good place to host the musical, but oh boy was I wrong. The Theater des Westens is small, really small. I know this is a futile comparison because not many of you will have been to the Pesti Magyar Színház, the theatre where Tanz is performed in Budapest, but it’s roughly the same size. The theatre has only one path which the actors can use to walk through when they exit/enter the stage, this is a horizontal path behind row 13. Why I usually talk about the paths in a theatre when it comes to Tanz, is because it is very important to the show, the interaction with the audience really comes to life when the actors can walk though the audience without being constricted by the layout of the theatre. This theatre isn’t made for Tanz. The building might look fancy, which adds to the atmosphere, but the layout of the seating area isn’t great, the animations on the screen were better looking in other theatres and the acoustics weren’t amazing either here. Maybe I’m just overly critical, but this was the 6th venue i’ve seen Tanz in, and I can conclude that there are theatres that are much more suitable to show Tanz in.

Random stuff that’s not about the show

I was in row 21 seat 8, and it is a really good place if you don’t want to break the bank and still see everything very clearly. Because it’s such a small theatre, even if you are in the back, the stage isn’t too far away.

The amount of people in the audience was disappointing. In front of me towards the right was a whole section of about 25 seats which weren’t taken. There were very visible gaps in some places in the audience which really made me think, if you can’t sell out a show in the first week after the premiere, isn’t that a sign that you should stop extending a show? And I know that after Berlin the show is over in Germany, but although it pains me to say it, I think they already have been playing on longer than is neccesary. And sure, they still make lots of profit, but for example if you look at the 2017/2018 run of Tanz in Vienna, it was almost always sold out. In Germany I get the idea that people are getting so used to having Tanz be somewhere in the country that the show isn’t special anymore. 

The Cast

Graf von Krolock: Filippo Strocchi

Sarah: Diana Schnierer

Alfred: Raphael Gross

Professor Abronsius: Sebastian Brandmeir

Chagal: Jerzy Jeszke

Magda: Sara Jane Checchi

Herbert: Christian Funk

Rebecca: Dawn Bullock

Koukol: Arvid Johansson

I had the full first cast, which is a tip, if you really want to see the full first cast, go in the first week after the premiere, because for most of the week the cast existed of those people.

Filippo Strocchi- I didn’t really like Filippo as Krolock. I never got to see his Krolock in Vienna and I was wondering what he would be like, well, he didn’t meet my expectations. He isn’t grafly in any way, and I don’t like his voice as Krolock. I thought it had to do with his age, like maybe he isn’t ready yet to play a vampire dude who has had many centuries to live. He’s 36, which is okay, considering that Jan Kriz (the next Krolock in Berlin, who I’ve seen already) is younger, but he had more of a Krolock-vibe to him. So to come to a conclusion, it doesn’t have much to do with age, it’s more about personal preference. People said that he’s a bit like Drew Sarich, he’s nothing like Drew Sarich. He’s his own person which is good, because an actor shouldn’t be portraying a character like someone else already does. There was nothing memorable about his Krolock. There were a few things that stood out, when he pulled Sarah’s arm away before the bite during Tanzsaal, he rolled his eyes in the most exaggerated way ever, as if to say; do you really think you can protect yourself? And when he seduces Alfred during Vor dem Schloss, he wasn’t even a centimetre away from Alfred’s face. He really went for it. A moment that was really fun is when he said “Doch sie gehört nur mir!” Abronsius was standing to his left and Filippo turned around to Abronsius and said that sentence directly to Abronsius. Which was totally new for me.

I didn’t love Filippo, there were some tiny moments I liked, but he didn’t act very Grafly, didn’t sing very Grafly. To me it felt like he was trying to make some moments more like a Rock show than a musical. All of this doesn’t mean that I hated him, he’s just not my preferred Krolock.

Diana Schnierer- Gonna keep it short about her because this was my 7th time seeing her and I don’t have much about her to add that I haven’t already said in other reviews. She’s a perfectly good Sarah, I really liked seeing her and Raphael on stage together again. When Sarah hints at doing the thing with Alfred during the Du bist wirklich sehr nett scene, some people around me really thought that some stuff was going to go down, so Diana was very convincing with her acting in that scene.

Raphael Gross- Raphael was very confused in the first act, he really didn’t know what he got himself into. In the second act he became more like the Alfred I had seen him be in other performances. When Abronsius says that Alfred should think about Sarah when she’s about to stake Krolock, Raphi put on the biggest puppy eyes face I’ve ever seen, and it was adorable.

Small things I’ve got to say about other actors- The chemistry between Herbert and Alfred during Wenn Liebe in dir ist was to die for! I’m beginning to like Christian Funk a bit more each time I see him. He even tried to give Alfred a little kiss on his head.

Jerzy Jeszke is a great Chagal. If I heard it correctly, he also said some things in Polish during the points when he kind of has to mumble, for example when he’s done with Eine schöne Tochter ist ein Segen. That really makes his Chagal his own. It actually surprised me that he is Chagal again because at the end of the Köln run, he would officially stop doing the show. But I guess that it has to do with the lack of participants they got to do the role of Chagal. For example, Dawn told me that she got a phone call in August if she would like to be Rebecca again. To me this sounds like there were very few people who auditioned for the role of Rebecca and they opted for someone who already had experience with the role. So maybe the same happened to Jerzy.

I didn’t know that I was so used to seeing Paolo Bianca until I got Arvid Johansson as Koukol. Arvid almost stood up straight as Koukol, which I found a bit strange. A nice addition to his character was when Krolock patted him on the head during Vor dem Schloss, Koukol poked Krolock in his hips with his head when he wanted more patting from Krolock.

Random stuff which is about the show

At one point during Die unstillbare Gier, the projector wiggled a bit, so the projection of the gate became wobbly and it just looked really funny.

I wonder how much is played of a record and not actually sung, like the part when Krolock exits the stage after Gott is Tot clearly comes from an already recorded part and is not sung live, and I really wonder how much such already recorded things are used in the show.

The ensemble members during Vor dem Schloss are all on a balcony right above the stage, there isn’t any involvement with the audience at all. Which is such a shame!

Conclusion

This was not my favourite show of Tanz I’ve ever seen. Sure, there were some good moments and I definitely liked it! But I didn’t love it. I don’t know if I want to see it again in Berlin, I was plannning on seeing it another time near the end of the run, so I will have seen it at least once in 2019 and that will be my last opportunity to see it before it closes altogether in March. But now I don’t know for sure if I still want to go because I felt kinda underwhelmed by this visit. Maybe things will change, I don’t know. It’s still Tanz, and I unconditionally love that show, but I should also be able to look at it critically, and that may result in some opinions that are not all positive.

[netalkolemedia]

Pati Konstwi Lavi pwopoze yon Kongrè Nasyonal Reprezantan pou rezoud kriz 

Menm jan ak tout lòt aktè nan sosyete a, Pati Konstwi Lavi ap chèche solisyon pou kriz miltidimansyonèl la k ap manje peyi a. Òganizasyon an pwopoze yon “Kongrè Nasyonal Reprezantan “, pou yon kòmansman refleksyon pou inisye yon dyalòg fran ak tout pwotagonis yo.  Vrèman vre, nan yon konferans pou laprès, lendi 31 oktòb  2022 sa a, estrikti politik Pati Konstwi Lavi, Dr Harrison Ernest ap dirije…

[tanz-der-vampire-musical]

Anja Wendzel and Jan Kriz as Sarah and Krolock in TdV - Berlin 2019

(From Anja’s Instagram)