Fritz Kater

we are blooden

1985, an industrial landscape in Brandenburg: Tim, a gifted engineer, receives a lucrative offer to go to Burundi. Career or family? Yves, his pregnant girlfriend, a journalist censored and intimidated by the organs of the GDR state, despairingly wishes she could retreat into the private sphere.
2008, somewhere in the same area. Yves is highly committed to her work as a nurse at a hospital. She particularly takes the 15-year-old Justin, who is suffering from cancer, and Beni, whose brain was badly affected after a car accident, under her wing. Beni's sister, Lisa, returns to her old home. She meets Raffael and Tom, her former lovers. The two are both radicals, but hold diametrically opposed beliefs. One is an environmental activist who would resort to any means to halt the continued plundering of nature, the other is an entrepreneur who cares mainly about the bottom line and wants to build a gigantic leisure park for tourists interested in the cranes that live in the region.

In his new play, Fritz Kater postulates a correlation between the body stricken by illness and natural disasters with social causes. In their different ways, both systems are putting up resistance to excessive interference from outside. And yet, Kater does not take a fatalistic view of his characters and their attitudes towards themselves and the people around them. Rather, he suggests the possibility they would want to wish for the apparently impossible: Another world.
(Theaterverlag henschel SCHAUSPIEL)

'For three years long, sociologists, ethnologists and experts in cultural studies have been working in and around Wittenberge, examining the relationships of the people there who have not left for West Germany and attempting to comprehend the centrifugal forces to which they are subject. Out of this, Fritz Kater has distilled a text that, with its overloaded narrative and imagery, with the anarchic grotesquery of its basic structure, has proved to be a typical Kater piece. One of his most persuasive, most distressing and most forceful. In this respect, Fritz Kater is interested in nothing less than the condition humaine. Which means nature as it lies before us and as we let it lie there unnoticed because other things are closer to our hearts, human nature, and how and why the two are drifting ever further apart. He shows what harsh consequences this loss has for the relationships between individuals.'
(Jürgen Otten, Frankfurter Rundschau, 6 May 2010)

'After HEAVEN (to Tristan) (premiere: 2008), in his new play we are blood Fritz Kater investigates what prospects an East German region really has for the future and calls into question the fatal idea that the preservation of the landscape and its economic exploitation have to be exclusive alternatives. The interventions in the ecological system necessary to supposedly save a region are like surgical operations on the system of the human body. They provoke resistance and mobilise individuals who feel they have been abandoned by the state. In this respect, Fritz Kater uses the character of the neurologist Zwerenz to explore the field of aetiology, focussing his dramatic narrative on the proceedings at a public hearing and having the conflicts of interest between investors and conservationists clash irreconcilably when they confront each other face to face. Simultaneously, however, he is also interested in his protagonists' private miseries. He investigates individuals' relationships to the community, showing futile attempts at individual therapy, and reporting on the lostness of the individual and their proximity to death. Fritz Kater draws on motifs and ideas from texts by Werner Bräunig, Anthony McCarten, Joseph von Eichendorff, Richard Powers, Brigitte Reimann, Wolf Singer and Einar Schleef to stimulate ideas for his dramatic structure. Weaving a net of connections and associations, he links up the responses from his subjective landscape of reading like the sensors of the human nervous and blood systems. In this way, he seeks to divine the currents that flow through an endangered landscape, crucial as they are for all our survival.'
(Andrea Koschwitz, Maxim Gorki Theater programme, Berlin)
Technical data:
Premiere 5 May 2010, Maxim Gorki Theater, Berlin
Director Armin Petras
Cast 3 F, 5 M
Rights Theaterverlag henschel SCHAUSPIEL
Translations Theatre Library