Only a few meters separated the worlds in the Deutsches Theater Berlin: In the big house, “The Magic Mountain” was performed without an audience for a live stream at the Theatertreffen, which everyone at least in this country could have seen. On the forecourt, on the other hand, “Tartuffe or the Wise's Pig” by PeterLicht celebrated its “free to Molière” premiere - for 132 spectators who defied the rainy weather and cool temperatures with mask and distance. Inside the sterile atmosphere in front of the empty stands and an ensemble that played for the cameras, outside real people under the open sky with its unpredictability and an ensemble that only played for them.

The longing to finally be able to experience analog theater again was greater than the not exactly art-friendly accompanying circumstances on the part of nature.

Nor did they care about the eight actors, who visibly enjoyed their first appearance after an almost six-month break.

Molière and open air, that rhymes, even if the author and musician PeterLicht hasn't left much of the original.

Ungeil, endgeil, moderately cool

The director Jan Bosse, who is also a fanatic in dealing with foreign texts, turns it into a gripping spectacle that elegantly takes up the conditions of the location and conjures up the crazy piece on the stage without actually having one. Instead, the set designer Stéphane Laimé decorated the entrance steps, the adjoining terrain and the classicist facade with all sorts of bizarre objects - such as a collapsed piano. Wooden animals stand around casually, on the balcony on the first floor there is a gold-painted throne, from a window next to it a wine-red velvet scarf falls to the floor.

Natali Seelig as Elmire, the wife of the wealthy Orgon, even creates a lush chandelier.

Who has, has, but Orgone is dissatisfied: “Nothing happens there.

That's not enough. ”He is also bored with his entourage, which at PeterLicht is a kind of therapy group with diarrhea.

Nobody says what he really thinks or wants, everyone in this “connected social sculpture” babbles back and forth in the jargon of inauthenticity.

Debates about whether something is cool, cool, extremely cool or moderately cool can fill hours.

That is why Tartuffe was brought in by Orgon, which is no better, but unknown and cheeky.

A "perfectly normal sex shaman" 

He lives up to the title addition "The Wise Men 's Pig" in every respect, grunts eloquently and unabashedly digs at women. Božidar Kocevski, first in a pale pink suit, later in a white ballet suit, wakes everyone's dreams of an exciting new life - and fear of it. Felix Goeser as a lively muscle man is enthusiastic about Tartuffe's rabid, unconventional demeanor and his "direct actions", the others feel disturbed by their steamy chat comfort, whether Kotbong Yang as Mariane or Tamer Tahan as Damis, Orgon's stupid children, whether Linn Reusse as a lively housemaid Dorine. Moritz Grove as Cléante, dressed like a musketeer, faithfully translates what Tartuffe grunts to himself, although Elmire grumbles: "Nobody understands that!"

Only Orgon's mother, who is called "Mr. Ms. Pernelle" and virtually personifies the parents, is cycling with Regine Zimmermann - with verve and without understanding - completely in his clutches. The costumes that Kathrin Plath gave these turbo squadrons are historically inspired and completely unsuitable for the piece, which makes for a jolly break. Every now and then, accompanied by Carolina Bigge on drums or guitar, nonsense songs are sung: “Whenever it's at its best, it's at its best”. In the end, Tartuff's fraud is revealed and the alleged super psychoguru is exposed as a “perfectly normal sex shaman”. Jan Bosses happily accelerated staging takes less than two hours, it is dynamic, powerful and carried by clever slapstick.With the excellent ensemble he shows PeterLicht's enjoyable language criticism as a stimulating summer theater in which one can laugh heartily coldly at others - and still warm the hands of applause that have been idle for so long.