Nuevas obras alemanas - Temporada 2011/2012

Gasoline Billen

The crisis begins with us ourselves. With the insolent gaze of the Other in the mirror, which makes plain that not inwardness but rather the external is what counts, and that the always traumatic experience of love can be endured only as long as we manage to remain strange to one another. Or are we in fact in the end only fellow human beings, accomplices, abettors and co-Calvinists, working assiduously to assure that nothing changes?

Amidst film quotations, psychoanalytic theory and hysterical reflections on the unbearable heaviness of being, René Pollesch asks about the possibility of political action in the twenty-first century. About the possibility of criticizing a brave new capitalism in which we are always entangled in one way or another, which can no longer be viewed from outside and co-opts instantly everything we say, feel and live.
(Munich Kammerspiele)

Comments on the play:

Jacques Lacan, Slavoj Zizek, Max Weber and the Beastie Boys are the intellectual forebears of the honourable society that, purportedly drunk, yet by Pollesch's standards almost jovially, here debates the radical Otherness of the Other, and that in the long run saving dolphins with Greenpeace only makes you sadder, and why the theatre is an excellent place to remember a lost fountain pen. Adapting freely an idea of Lacan's, the actors are there ultimately to relieve the audience of the burden of its emotions, so that its members can occupy themselves with the really important things of everyday life.

But who relieves the actors? And who sees to it finally that all this preventing something from actually happening is put an end to?
(Silvia Stammen, Theater Heute, January 2014)

Feeling in general, feeling as positively experienced value, as a possibility of being close to another person, is here dismantled by every trick in the book, the possibilities of language as a vehicle of understanding are put into question (if also eagerly used) and the desire that in the end always desires only itself is shown to be of a highly dubious nature. None of this is new in Pollesch, but the master of the theatre series format weaves it here into a dense tapestry depicting his anti-empathetic, cool picture of the world as never before.
(Peter Michalzik, programme booklet of the 2014 Mülheim Theatre Festival)

Technical Data:

Premiere 16.11.2013, Munich Kammerspiele
Director René Pollesch
Cast variable (2 women, 4 men)
Rights Rowohlt Theater Verlag
Hamburger Str. 17
21465 Reinbek
Postfach 1349
21453 Reinbek
Теl.: 040-7272270
Fax: 040-7272276
Translations theatre library