IM AUSNAHMEZUSTAND by Falk Richter
>Catharina Fleckensteins performance of a woman obsessed with her fears
is as convincing as Tom Piddes, who plays the part of her husband, trying to persuade himself
that everything is secure, fleeing into dull daily routine.<
Godot - Das Hamburger Theatermagazin
January 2016 by Christian Hanke
>The analogy of the current refugee situation and Europes attempt to shut down the borders
is obvious. Richters characters are eaten up with fears.
When Catharina Fleckenstein as blonde woman keeps asking her husband (Tom Pidde) the same
questions over and over again, she seems like a character from a Beckett-Play, close to madness
and trapped in her obsessive thought loops.<
Starke Stücke an kleinen Theatern
January 2016 by Heinrich Oehmsen
>There are Artist, on the edge of town, can you believe it, who play theatre to the theatre's sake.
They are - I believe -unpretentious, they live for their art, they have this sincerity,
that I envy them for.
Will they never get tired?
How could Fools get tired?
Thank you, Tom, Ines and Catharina Fleckenstein, I am in your dept!
Thank you for the "Wortgefechte", Konstanze Ullmer!<
by Christian Berg (Märchenmacher, Actor and Director)
KLASSEFRAUEN-133 JAHRE GEBALLTE FRAUENPOWER
>The Ensemble created their autographic Show within several weeks of rehearsals.
For the time being it might be unique among other musical theatre performances, maybe even
a precious stone.
Three generations of women: Grandmother Ottilie like her daughter and Granddaughter
(their ages added up to 133 years) find themselves in generation and love-conflicts, that will be
very well known by everyone in the audience. In this Show however these conflicts are
commented adorably by many songs that are applied to take the dialogues to a different level.
This new Team offers with their exciting Teamwork not only sparkling dialogues, Couplets,
and Chansons, that they perform with exceptionally pointed lyrics and also Nonchalance.
Their young director Daniel Großkämper gave the charcters space to express themselves.
We can be curious what else will be to expected from these talents.
This might be the place to quote a great singer, Kirsten Flagstadt, with her famous statement:
"Here are stares blossoming."<
Godot - Das Hamburger Theatermagazin
September 2013 by Hans-Peter Kurr
UNTER SCHWEBENDEN LASTEN by Bettina Katalin
>In a subtle performance with wonderful speech, impressed Catharina Fleckenstein as Helena.<
Die auswärtige Presse
January 2013 by Uta Buhr
AUS DER LUFT GEGRIFFEN ODER DIE GESCHÄFTE DES BARON LABORDE by Hermann Broch
>Ann-Christine Gruntzdorff shows Labordes young wife Baronesse Stasi as funny shady, smart
Towards her rival Agnes, Catharina Fleckenstein, shows cool elegance and a clear mind though
she has a weakness for the irresistable "Luftikus".
All actors are performing in a light, dancing grace, also theatrical within the formal frame
of Spiekermanns highly calculated, emphasised exposed physical theatre.
Saxopohne player Anri Danielian plays for a dance to this amusing sarcastic
"dance on the volcano".
November 2012 by Klaus Witzeling
DENNIS- A CHILD CAUGHT IN THE MIDDLE
>The Opening Play, that was enthusiastically applauded at the premiere these days is called
DENNIS. A psychological criminal drama written by A.A.Lucas is about abuse and mobbing.
The justified and deserved success is partly due to the really well written drama (...).
Furthermore to the actors Esther Barth, Ann-Christine Gruntzdorff, Moritz von Zeddelmann and
Ralph Eckstein who dealt with this enormously heavy subject with the utmost care and
developed their characters in a striking, individual way.
Clearly headed by her artistic expression, differentiation and nuances Catharina Fleckenstein,
who long ago outpaced the footsteps of her formerly famous Father,
Director of the theatre in Göttingen, Günther Fleckenstein, and goes her own, very
unconventional artistic way.<
Godot - Das Hamburger Theatermagazin
August 2012 by Hans-Peter Kurr
Henrik Geyer from >Spireo< interviews Catharina Fleckenstein
>... to touch people we need be honest<
Spireo: What are you looking for?
Answers to the questions: where do I come from? Who am I? Where do I go?
In my "real" life and also on stage. These questions are part of the classical preparation for your
part as an actor.
In other words: self-awareness and growth of conciousness on all levels motivates me.
Spireo: What is it you find in your theater work and nowhere else?
Stage is a phantasy-space. You can open and change the play levels and thereby enhance the
perception and awareness of the audience. Which is the nature of art as such.
However in the theatre it isn't abstract, because part of this phantasy-space are players, persons
who act in the present moment.
Whenever a performance inspires me, I seem to become the child that I was when I first went to
The quality of this moment never changed. I immerse into the enchanting world, the light,
the smell, the fabrics, the magic.
During an exciting performance apocalypses are taking place, worlds go down others emerge.
Or we follow the destruction of one world but in the minds of the spectators a new one
can be created.
In any case, everything that happens on stage, is existential. It is always "Be or not to be".
I believe in the cathartic process of a performance or its abiliy.
In the sense that a process takes place that releases everyone on an different level of
conciousness than where they started. The external action is only a metaphor for the spiritual
Theatre has the ability to dissolve time and space. To arrange our well known coordinates of
perception in a fresh way or even drop them completely.
It can be a spiritual experience, with the means of a play. In a playful way.
But to achieve this It is necessary to really touch the audiences hearts.
They should laugh and cry and be fully involved with the performance on stage.
Feeling related and present with the actors.
Spireo: What do you think spectators are looking for? Diversion? Or anything else?
I think that spectators like to share this perception-adventure. Maybe they are not always
aware of it.
Maybe they really just want to be delightfully entertained.
Still- an impression can only be made by a performance that touches, maybe even unsettle
or inspire people on a deeper level.
Spireo: What do you consider creativity?
Creativity for me is the moment when people express their association with the spiritual.
That can be anything like cooking, painting, drinking tea, no matter what.
Your inner attitude towards what you are doing makes the difference.
In my case it seems to be playing. And also telling tales. This is an area where I feel this
association clearly. You could also call it intuition.
Spireo: How can you express creativity using someone elses script?
Language is only a very meager sphere of expression. If you are lucky and you can deal with
a poetic, lyrical language, it is rich and you will be finding deeper levels of expression
in the lines.
But we need all aspects of our artistic expression. The physical,
vocal, and many more to create a "cheerful fire".
The lines written by someone else are the frame, the fable or more contemporary- the story and
only a matrix. We are supposed to create the essential proceedings, within the characters but
also between them. Any moment.
Spireo: What kind of mysterious experiences have you gained?
Well, I rather gain exciting experiences.
Working with our ensemble e.g. for me is a fabulous experience. Sometimes we create a
kind of "field of inspiration" together. These are moments when it feels like the many of us
are one. Joint.
During these moments things happen, that can never ever be planed theoretically.
It feels as if a channel opens that gives us ideas.
It feels like being more transparent, that is a very exhilarating state.
Spireo: What does the art of acting mean for you?
That the audience is deeply touched depends on how honest we are on stage.
Honest in terms of what we want to tell with the play. In terms of our skills and our willingness
to make the processes transparent.
Thanks to my own personal way, the challenges I got to deepen my trust, let go of fears, follow
my intuition, a more and more consolidated preparedness comes into being,
to open myself up to any human aspect and issue.
And with this grows my preparedness to show these aspects in my work and share them.
In "real" life as well as on stage.
Spireo: Dear Catharina Fleckenstein, we thank you for this interesting interview.