Alltag und Ekstase (i.e. Daily Life and Ecstasy)
Comments on the play:At first, they give the impression of four quite normal middle-class individualists searching for self-realization. The mother is building a country house. The father, Günther, celebrates the rituals of other cultures – ranging from Guinean tribal rites to the Japanese tea ceremony – so uncritically that it almost hurts. The daughter-in-law, Katja, riots away her days with different men while the son, Janne, rejects all conventions in principle.
Then a Japanese guest bursts into the midst of their feel-good hell – a visitor whose fondness for German customs, German beer and gay men’s clubs causes consternation. Thus it gradually transpires that working on your own uniqueness is not only futile but also harbours painful insights. What if each of us, precisely where he thinks himself most individual, is actually most conformist?
(…)Kricheldorf has a flair for the absurdities of existence. She confronts the search for a place in the world with contemporary motifs: not only green-mindedness but also a consensus society that analyzes everything and offers a therapy and cure for every problem.
In her trenchant work, commissioned by the Deutsche Theater in Berlin […], Rebekka Kricheldorf links the uniformity of our self-realization and dreams of optimization to the ubiquitous coercion to talk […]: with immense wit, she […] carries a society to comic absurdity … everyone psychologizes and discusses things until nothing remains except a debate about the correct techniques for carrying on a conversation.
|Premiere||17. Januar 2014, Deutsches Theater, Berlin|
|Cast||3 women, 4 men|
|Rights||Gustav Kiepenheuer Bühnenvertriebs-GmbH|
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