d‘Arquette by Daniel Ableev and Christian Kellner
Daniel Ableev was born in Novosibirsk in 1981. He studied comparative literature and English and American literature. Daniel Ableev lives in Bonn, carrying out freelance research into oddities. He writes for Legacy and composes for "Freuynde + Gaesdte". His first publications include Xass (edition nove), Sansabienne in the Jahrbuch der Lyrik 2009 (S. Fischer) and Wahnsinniggi (Autumnus).
Christian Kellner was born in Koblenz in 1983. He studied German language and literature and philosophy as well as searching for orientation in motorcycling and business.
d`Arquette, a play by Daniel Ableev and Christian Kellner, bears the subtitle A biting satire in one act. Two young people, Domi and Vloo, everyday heroes, want to go out one evening, something that has to be thoroughly planned and discussed. Who is coming. Who is coming when. Who is not coming. Who is coming where when. Who is going where, when and why. Who is meeting whom, when, where and why and whether that is a good idea and whether they will meet with or without their pet and their friends and what the music will be like. What the music will be like at eleven, at one, at three or four and where you can go to instead if the music is not good.
That would be the whole plot, if it were not for Dodoniel, a pushy character straight from the bright and breezy world of comics. He alternates between horror and ridiculousness, constantly interrupting the main characters’ discussions. He is unimposing at first, but becomes more and more intrusive. In the end, he extinguishes the characters and their stage performance.
Is this harmless chit-chat, the ordinary sort of talk in which young people engage? It is much more than that. d`Arquette’s script draws on teenagers’ small talk, playing with their jargon, their expressions, their language and language in general. It plays with their cliché-ridden phrases, cleverly picking up on them. The characters’ communication, limited in any case and using atrocious grammar, is reduced even further in the course of the play until their limited verbal expression degenerates ad absurdum.
An intelligent play that shows uses subtle and sometimes brute humour to expose contemporary unintellectuality. The heroes are unmasked – but never denounced.
(Jury’s statement, Dutch-German children’s and youth theatre festival Kaas & Kappes 2011)
|Second prize of the Dutch-German children’s and youth theatre festival Kaas & Kappes 2011|
|Number of roles||3 male|