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Der Baum ist jedem, der den südlichen Berliner Autobahnring
befuhr, vertraut. Seit dem Frühjahr 2004 ist er verschwunden.
Abgeholzt. Aus einer weiten Kurve kommend, stand er zuletzt
in gerade Linie zu einem Funksendemast. Von hier aus war es damals noch eine Stunde mit dem "Trabbi" bis ins Ost – Berliner Zentrum. Daher ihr Spitzname: die „Stundeneiche“.
Mit der Fällung der Eiche entstand die Idee, aus diesem
geschichtenträchtigen „Wahrzeichen“ eine Baumskulptur entstehen zu lassen. Franziska Uhl, Künstlerin bearbeitete ein Jahr lang das Holz in ihrem polnischen Atelier auf der anderen Oderseite. Eine beschwerliche und kontemplative Arbeit. Und obwohl es „nur“ um diesen Baum geht, beginnen die Geschichten der Menschen immer dann, wenn sich des Mythos deutscher Eichen erinnert wird.
Die Stundeneiche wurde Anfang Mai 2005 auf dem Ludwigsfelder Rathausplatz als Skulptur aufgestellt.
Beinahe nackt lassen sich die weichen Konturen zweier Gestalten erkennen.
Trickfilm ist sein Traumberuf, hunderte von witzigen Figuren und Filmen hat er geschaffen: Gerhard Fieber ist einer der ganz Großen des deutschen Zeichentrickfilms. Er war künstlerischer Leiter der deutschen Zeichenfilm GmbH, die den deutschen Trickfilm auf Disney-Niveau bringen sollte. Er hat u.a. die Mainzelmännchen ans Laufen gebracht, den ersten gezeichnet. Ein unterhaltsamer Rückblick auf 50 Jahre Trickfilmgeschichte mit vielen amüsanten Ausschnitten.
Alexander Taxildaris is 25 years old. He was left a quadriplegic after a diving accident four years ago. Since then, he has been swimming competitively. In order to transform his handicap into an opportunity he is participating in the Athens 2004 Paralympic Games. In the swimming-pool, Maria, his coach, is training him harder and harder. She is anxious, and all this pressure makes her very emotional when unexpected situations occur, but she wants to believe in a medal. Alex, on the other hand, is more self-controlled and pragmatic. His family and friends are strongly united around him.Will he win the medal that everyone is hoping for?
"Resurface follows a young man who became a quadriplegic in one accidental, devastating dive. He wins a medal and gets a girlfriend at the 2004 Paralympics in Athens. The scenario can be too uplifting, but the filmmakers do show us the first two races in which Alex does not place before he earns the silver, as well as his girlfriend's describing the enjoyment of and obstacles to their lovemaking. Resurface stays grounded in the details of its hero's life, from its comparison of a dog paddling through the water to shots of Alex lowered in and lifted out of a swimming pool." (Gabriel M. Paletz, IDA)
[In Greek, with English subtitles]
Born 1941 he began his musical education 1947, which he concluded 1970 at the Schola Cantorum Basiliensis. Since then about 100 concerts per year, as gamba virtuoso, founder and director of three ensembles for ancient music, manager of his own record label. Approx. 90 CDs with own recordings, altogether 2 million copies sold. Countless prices and awards, overcrowded concert halls. Jordi Savall's records cannot be beaten in any ways - not in the south of Europe.
29 years ago Jordi Savall founded the ensemble Hespèrion XX with his wife, the soprano Montserrat Figueras. A programmatic, at the same time cryptic name: The antiquity called “Hesperia” the two western big peninsulas of Europe, Italy and Spain, the Roman “XX” meant the 20th century.
Savall and his ensemble wanted to revive the old, nearly forgotten music of these two countries and they wanted to do this not in a virtually archaeological way but in the contrary conscious from the point of the view and with the liveliness of musicians from the 20th century.
The scores handed down to us from this early period of the European music history (meant are those of the 12th until the 18th century) often only give scanty details in which instrumentation, in which tempo and with which ornamentations they shall be performed. Maybe some of the valuable handwritings are only extremely abbreviated summaries, memory aids for a music that was played by improvising interpreters which were their own composers at the same time.
Jordi Savall did not only conduct this ensemble, that essentially consisted of students and graduates of the Schola Cantorum Basiliensis, the best university for acient music in Switzerland, he himself played and still plays the viola da gamba, an instrument that was nearly forgotten since it was taken off by the violoncello about 250 years ago. – Forgotten so completly, that nearly everything that was connected with this instrument, how to play it, its attitude, atmosphere etc. had to be reconstructed from archives and old illustrations. In the meantime Jordi Savall is regarded as the master of the viola da gamba. With the warm overtone-rich and unobtrusive sound of his instrument, a sound that is regarded by contemporaries best like the human voice, Savall conquers an audience getting bigger and bigger especially in France, Spain, Italy and Austria. As mentioned above about 2 000 000 copies of his almost 90 CDs were sold until now.
Music & Film and Film music
A considerable share to this success is dued to the soundtrack of the film “Tous les matins du monde” from Alain Corneau which tells the vita of the eccentric composer Sainte-Colombe le fils and his pupil Marin Marais.
Jordi Savall gave his sound of the instrument to the actors Jean-Pierre Marielle and Gerard Depardieu who only were pretending as if they would play (although they had to learn the gamba play as far as they could). Hard to say what exactly made up the success of this soundtrack: On the one hand of course the high art of the interpreter, his breath, the calm and concentration of his play, the variety of the tonal colours – which only come to validity when you listen to the CD. The viola da gamba is not an instrument for big concert halls but an intimate - a chamber instrument in the real literal sense.
On the other hand as already mentioned it matters, that the repertoire of Jordi Savall, the manner of his interpretation is very unobtrusive. His music can be put in the background, you may but you must not listen to it. It permits both: its “use” as musique d’ameublement – and a concentrated, meditative listening.
Besides the original ensemble Hespèrion XX (in the meantime XXI) Jordi Savall founded and conducts the vocal ensemble LA CAPELLA REIAL DE CATALUNYA and the chamber orchestra LE CONCERT DES NATIONS that already recorded Beethoven symphonies. In addition Jordi Savall appears in solo recitals or plays duets for example with the harpsichord player Ton Koopman. Furthermore (one of all these activities would be enough for a “normal” person – but Jordi Savall does not seem to be a person of this kind,- besides his mother tongue, the Catalan, he speaks fluently Spanish, French, Italian, English and German), five years ago he founded his own record label “aliavox” with which he “only” (as he expresses himself) presents 5 new CDs from his repertoire each year – altogether 25 titles that were sold about 700.000 times.
OUR FILM ABOUT JORDI SAVALL
It is illusory to assume one can shoot a film about Jordi Savall which summarizes the complete fullness of his activities or gives a representative summary of the musical treasures raised by him with a profound expertise. Or to describe exactly how he manages to play the viola da gamba in his own unmistakable way that makes it sound like it sounds.
Without any doubt Jordi Savall is a maestro of the international music scene. But into which of these many Jordis Savall did we want to give an insight? We decided us to concentrate on few aspects of his personality.
Since the music which Jordi Savall resurrects must be formed in her finest micro tonal fibres and layers, it is undisputed of a great fascination, to let this work and the micro cells of the music become shape in the screen. What do these hands, these fingertips have to do, to get these small nuances out of the vibrating string like a sculptor creates a sculpture out of a stone or a wood piece?
Occasionally Jordi Savall told us, that again and again people told him that they wait for a film in which you might see: how does he actually do it?
And Savall does not do it in a “romantic way” - it does not work to show the face of the musician only “feel the music”. The first 7 minutes of our film focus on Savalls hands, his fingers, that you can even see each dust particle vibrating on the strings.
It was our idea, only to concentrate on one ensemble, the ensemble Hespèrion XXI that celibrates in 2004 its 30th anniversary. And we only present a selection from the nearly infinite repertoire of this ensemble that shows Jordi Savall solo, in duo and trio play up to an almost chamber orchestral instrumentation with approx. 5 musicians.
A red thread runs through the music program, the rhythm of the Folia or the Fandango e.g. but also the change of solo and bigger instrumentation, instrumental and vocal pieces.
One of the locations of the music shootings was the church of the castle of Cordona, the so-called Colegiata, a both acoustic and visually charming place.
Our concept was to illuminate each of the different pieces (that last about 1-3 minutes) matching its character in an own special way, from a selective illumination with the surroundings in black up to a radiant illumination of the complete church room.
Of course we took care that this playing with light remains discreet but nevertheless shows the room in his facets so that he joins in the background but all the more lets the music step forward through this
This concept of a special lightdesign appears all over the film: In Cardona, in two churches in Cracow (Poland) where we filmed two live-concerts, and in the Sans Soucis-Castle in Potsdam.
Amanda Villavieja Garcia
Udobno, okusno, kičasto? Le malo kaj razkrije več o osebnem okusu kot domača dnevna soba. Nemške so tako raznolike kot njeni prebivalci: dizajnerske, staronemške, prenatrpane, baročne ali razigrane – ni, da ni.
"Glavno, da domače!" je zabaven dokumentarec o zgodovini nemških dnevnih sob in življenjskih stilih. Že v dvajsetih letih prejšnjega stoletja so napredni oblikovalci zahtevali praznjenje prenatrpanih dnevnih sob.
Po vojni, mnogi živijo v zasilnih bivališčih. V burnih petdesetih osvojijo domove razgibani moški. V "vesoljski dobi" šestdesetih pa se ponujajo kričeče svetle barve plastičnih lupin, le nemška hrastova omara oporeka vsakemu trendu!
In the southernmost tip of Salzburg – Austria’s “Siberia” – farmer and forester Sepp Holzer has undertaken a radical agricultural experiment on his mountainous land. Going against all the conventional rules – and despite annual average temperatures of 4.5 °C and an altitude of between 900m and 1400m – Holzer has created an edible paradise.
He’s caused quite a stir in the process. In forty years of observing nature, unrelentingly joyful experimentation and battles with government agencies, he has succeeded in winning over his opponents. Holzer’s way of farming involves working with the laws of nature rather than trying to overcome them. He uses no pesticides, herbicides or fertilizers. Instead, his golden rule for successful farming is the basic principle of permaculture: “Cooperate with nature instead of fighting it.” As Holzer himself says, “[We need] variety instead of uniformity, because all plants and animals have a meaningful function”.
In 1962, at the age of 19, Sepp took over his father’s farm. Since then, he and his wife have created a perfectly-functioning permaculture system – without ever having heard the term “permaculture“ before.
Laid out in terraces resembling rice fields in Asia, his 46-hectare farm provides a stark contrast to the pine monocultures that surround it. Previously, it was thought that many of the plants which flourish on Holzer’s land could not survive at an altitude of 1400m: cherries, apples, mushrooms, kiwis, lemons, pumpkins, potatoes and zucchinis. Now, nature is sprouting and thriving everywhere you look – along the paths, on the terraces, in the woods, on frighteningly steep slopes and even on stony ground. The farm’s mixed cultivation includes are around 45 water gardens, humid biotopes and ponds, and three mountain lakes. It’s here that the farmer breeds rare fish, toads, crustaceans and aquatic plants. His pigs plough and fertilize the earth, and plants supply each other with moisture, nitrogen and fertilizer. All of this means that Sepp Holzer has less work to do - and more time to share the success of his ideas with fascinated visitors from all over the world.
Jahrzehntelang bestimmten sie überall das Straßenbild: Leuchtend bunte Werbeschilder aus Email. Putzige Mohrenkinder in bunten Pumphosen, herzig lächelnde Mädels, rauchende Kinder (!) und unschlagbare Traummänner strahlten um die Wette, wenn sie ihre Produkte anpriesen. Ob Schokolade, Bier, Limo, Zigaretten oder Waschmittel -erst die emaillierten "Dauerplakate" machten Markennamen populär. Vom Großstadt-Kiosk bis zur Almhütte prangten die fröhlichen Werbebotschaften mit ihrem wetterbeständigem Optimismus.
Nach dem ersten Weltkrieg überschwemmten Großkonzerne wie Maggi und Henkel das Land mit ihrer Dauerreklame. Einigen Zeitgenossen wird die neue Werbewelt zu bunt: Heimatschützer rufen zum Kampf gegen die "Blechpest" auf, Polizeibeamte dürfen nach eigenem Gutdünken Emailreklame abmontieren, besonders Schilder mit "figürlichen Darstellungen" fallen den Ordnungshütern zum Opfer.
Heute spielen Emailschilder keine Rolle in der Werbung, sie sind zu begehrten Sammelobjekten geworden. Seltene Exemplare erzielen Höchstpreise. Unser Film zeigt die schönsten Emailschilder und Werbefiguren, die in den letzten Jahren auf Auktionen und Börsen zu sehen waren, unter ihnen sehr gesuchte Raritäten! Kunstexperte Alexander Zacke vom Auktionshaus "Dorotheum" in Wien erläutert, woran man den Wert der Schilder erkennt und worauf man beim Sammeln achten sollte.
Außerdem: Interviews mit Sammlern, ein Original erhaltener "Tante Emma - Laden" und ein Blick in die Produktionshallen eines Emailwerkes, das noch nach alten Techniken Emailschilder herstellt. Hier wird deutlich, wieviel Können und Handwerkskunst auch heute in der Herstellung eines einzigen Emailschildes steckt..
Schlingensief's Hamlet in Zurich In his documentary with fictitious elements, Peter Kern shows how Christoph Schlingensief bans political parties in nazi-free Switzerland, stages Hamlet at Zurich playhouse and socially reintegrates Neo-nazis at the same time. Time is off the rails, there's something wrong in the state. Schlingensief's Hamlet reaches out to politics and to life and triggers joy, laughter doubt and horror.
Full credits, text and picture details at [filmgalerie451.de.intern]http://www.filmgalerie451.de/en/filme/hamlet-your-family/
Tintenherz Cornelia Funke Theaterfassung von Robert Koall Ein Familienstück für alle ab 8 Jahren Regie: Mark Zurmühle Premiere am 14. März 2008 im Maxim Gorki Theater Berlin http://gorki.de/?page=spielplan&subpage=mgt&eventId=324561