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Die Gewehre der Frau Kathrin Angerer
Von René PolleschM: To start with, the beginning is the anticlimax. That’s what I like about these dramaturgies. To start like this, downhill all the way. That we are not sent on a journey through to the end of the disaster, but hit rock bottom straight upon arrival.
T: Where the big schemes and concepts of life are ruined, turned out a total failure. Picking you up where you are right from the start…when everything’s screwed up, chances are that things are getting that bit smarter around here. And more fun. They yearn for mending themselves, these guys. And „How beautiful this was, dude – wasn’t it?“, they think thinking of past loves and stories, and that’s the instant anticlimax. The low-point when you’ll be heading off with Jesus on a thieving spree in the church.
M: After all these ancient rituals and cults and stuff, the theatre’s new achievement was the fact that no one had to be offered up as sacrifice anymore. You got the actors on stage, but they won’t get sacrificed. And that causes great frustration among the audience. They appear on the stage, and in the end everyone is just so dissatisfied because they cannot be sacrificed. That’s a real problem since the audience cannot think of anything else for the whole time. Down to the present day they’ve been deploring the fact that those up there cannot be sacrificed any longer.
T: I think we should make a dance movie after all.
M: Well, yeah…I hope there will be a few slots left for my texts and lines, though.
The dance-choir is part of the young company at the motion*s dance- and movementstudio in Berlin.
The stage design includes a large-scale reproduction of the drawing „Monolith“ by the Berlin artist Alekos Hofstetter.
Coproduction Volksbühne am Rosa-Luxemburg-Platz, Wiener Festwochen
