Lieblingsmenschen ("Favourite People")
Lots of young lives in a purely contemporary world, unburdened by great expectations or major obligations - their progress communicated at all times and all places in high-speed SMS messages. 'I thought the more you experienced, the more you became someone.' It is hard work, it makes people nervous. How are they supposed to know what they ought to decide for and when: for their studies, a relationship or simply a good life...?
In the end, this whole modern circle dance grinds to a halt. With an unexpected show of determination from, of all people, the one character who has kept quiet the whole time.
In her first play, Favourite People, the young Swiss actor and author Laura de Weck has written an amazingly brisk, rhythmic portrait of today's generation - caught between their hunger for experience, their yearning for love, their restlessness and their constant sense of insecurity. There is a fine line between falling low and flying high. And between comedy and tragedy."
"Laura de Weck keeps her scenes and images on the surface, without them seeming banal or flat. Indeed, the chasms and crash sites shimmer through. […] The play is about students, which is what Laura de Weck was herself until recently. A life lived purely in the present tense, without obligations or past. A life full of possibilities, although it gradually becomes necessary to settle on one of them. In consequence, the characters are simultaneously engaged in a quest for something durable, whether it is just a love affair that works out beyond the fleeting moment. But their meetings never seem to last any longer than that."
(Julian Schütt, Weltwoche, September 2007)
"Favourite People is about five more or less gifted students who struggle through their studies. In fluent dialogues, mainly composed as SMS messages, the reader follows the changing troubles and tribulations of these young people's relationships, shares in their states of mind and follows them as they find themselves.
The author makes a spirited success of it […], using chopped up scraps of words to portray the 'inarticulacy' typical of our times. She provides a kind of diagnosis of our inability to discuss things openly, along with all the opportunities for human communication that go begging as a result."
"One might also assert unthinkingly that the story revolves around the aimlessness of youth. But a stage seismograph like the 77-year-old director Werner Düggelin contradicts this very pointedly: 'I think they all have very big goals: They have a yearning for paradise, they have dreams, they almost have an obsession with not being alone. And some of them probably have a desire to achieve something great.'"
(Stephan Reuter, Theater Heute, 07/2007)
|Premiere||29 March 2007, Theater Basel|
|Cast||3 female, 2 male|
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