In “WANDERNUTTEN”, Theresia Walser explores the relations between the sexes with a light touch and a sure instinct for comedy. On the one hand, she shows a group of men who sit around drinking: Albert, who feels it is best not to have anything to do with women; Olaf, who is happy when he is not allowed to smoke; Rainer, who dreams of women’s feet; and Georg, who will bet anything his wife is faithful. On the other hand, the author contrasts these men with four women in a hotel bar.
Three of them work together: Leonie, the group’s spokeswoman, Lydia, the password breaker, and Ines, who is supposed to remind Leonie to think about her husband. They are waiting for an Italian partner with whom Leonie is hoping for a much closer relationship – both business and sexual.

In Walser’s play, the men and women remain among themselves with their problems and neuroses. The sexes only encounter each other during the interludes in the shape of Ute and Ronnie, a pair of porn actors, who sit on a park bench and discuss “the most beautiful triviality in the world”.

(Verlag der Autoren)

Responses to the Play:

“The play says humans are wandering – yet settled – whores. […] This social oxymoron derives from the general pornographisation of our culture, as a result of which sex is viewed as a new popular sport, a kind of Nordic walking, so to speak. Love has therefore been in a poor way since neoliberalism gained access to the bedroom, a space once free of the market, which is why Leonie is no longer able to keep ‘business and sex’ apart. This is the theme on which Theresia Walser has written three desperately dark variations with witty highlights, which she has assembled into an evening at the theatre. […] You will find quotes in this work you will want to take home and place on a silk cushion, quotes to walk round and examine from all sides. As in all her theatrical texts, her wandering whores – male and female – are show-offs more than anything else who not only wear their hearts but their whole beings on their sleeves. And move across the quicksand of life, gathering up the linguistic boards on which they balance behind them again after each step.”

(Christopher Schmidt, “Süddeutsche Zeitung”, 12.10.2004)

Technical Data


Staatstheater, Stuttgart, 9.10.2004

Director Jacqueline Kornmüller
Cast 6 female, 5 male
Rights Verlag der Autoren
Schleusenstraße 15
60327 Frankfurt am Main
Tel. 069/23 85 74-20, Fax 069/24 27 76 44
Translations Theatre Library