Cabaret Berlinn

An entertaining-show? Yes. A puppet-play? Yes, even if Waschinsky mostly does'nt have perfect puppets – but it is also not the usual "object-theatre". He acts open, but the focus goes to the expression of his "not-puppets".
The Brandenburg-gate dances, some fingers are singing like Liza M. and some jogglers joggle – all this in a dream of a cabaret. And the Berlin-bear builds a new airport, like the real never-ending-story of the new Berlin-airport, which never gets ready.
Waschinsky lives in Berlin, and he presents something about this city, its legends and its lies, its past and its present. And inside the performance he presents his short actor-puppets-movie, playing in a court during the nazi-time, based of a piece by Bertolt Brecht. The theme, manipulation with peoples like objects, was also during the socialist period in Eastgermany a "hot" theme and often he couldn't present his movie. Now he can.
When Peter Waschinsky came out from Eastgermany to the west the first time in the end of the 70s, he had big succes with his "Earthworms" - played mostly with naked hands and few words. In Eastgermany he made as puppeteer or as director performances by Brecht, Goethe, Mendelssohn – and more and more by textes of himself. In Berlin he is also an author – for songs and puppetry. But in CABARET BERLINN he acts silent or with only few words in a very simple english (or french).

What the spectators should know about the Brecht-movie:
"Rechtsfindung" – Find out the law (20 min.)
Berlin 1936, Nazi-time. A judge has a case, which seems first very simple: A rich jewish jeweller lets an unemployer work for him, both are attacked by some SA-men. First the judge want deside against the jew – but other court-persons say him special facts, the jew is rich and also protected by important Nazi-persons… Only the naïve housemaid of the judge thinks, he will deside against the SA-men. In the end, the judge don't know, how deside and understands, what ever he desids – he will be the victim, because there two Nazi-groups fight against each other.
This Brecht-piece is written in normal dialogs. Director Peter Waschinsky made his movie 1985 in the communistic time, and so he had some troubles with it. As a new element he lets play his actors (two of them played also in Oscar-nominated or –winning movies) with little marionettes, so it becomes a kind of "object-theatre", unknown in this time in Eastgermany.
(Today Waschinsky means: Object-theatre is a matter more for actors than for puppeteers, for the puppet-theatre it is not the best way).

Peter Waschinsky born 1950, living mostly in Est-Berlin, studied there puppetry, acting at the famous actor school "Ernst Busch", there he teached also long time puppetry. Additional he lerned some years pantomime – what his puppetry influenced. He founded the Puppentheater Neubrandenburg – it became the most importent puppet-Companie in the eastgerman gouvernement (until 1990), and he is an solo-artist. He directed some important puppet-companie-productions of well-known authors (Brecht, Goethe, Kleist) and also operas. He founded in Eastberlin also some cabarets. Since some years he write songs and puppet-pieces.