Nuovo teatro tedesco - Teatro

Muttermale Fenster Blau (Birthmarks Window Blue)en

A young man on a quest for his past. He spends the night in a tent outside his grandfather's house, but the grandfather does not recognise him straight away – a long time has passed since they saw each other last. The grandson becomes an intruder who threatens to shed light on the suppressed past. Why did the grandfather break off contact with his grandson?
A young woman paints a window black so as to be even closer to her lover. They both dream of an impossible love affair. The two stories are intertwined fatefully. The encounter with his grandfather sends Lyosha on a journey into the unsuspected dark places of his own biography.
(Badisches Staatstheater, Karlsruhe)

Responses to the Play:
In Birthmarks Window Blue, I was interested in my own limits. In things I was not able to comprehend or answer. I researched the development of the family, or the development of the feelings of belonging we find within families, which we are told are as old as humanity itself. But neither the mother's focus on the child nor father-daughter relationships are naturally determined by a schema of self-sacrifice or biologistic rules. A strategy that is useful for the community becomes evident behind every obligation we have been taught to feel. In this play, my moral conceptions struggle with disgust at a society that is not able to protect the individual, but is quite capable of condemning and ostracising someone as soon as they threaten to harm its economic interests – a society that creates moral taboos for me before I have had the chance to understand for myself what my morality is.
(Marianna Salzmann, Das Magazin, 3, Badisches Staatstheater, Karlsruhe)

Marianna Salzmann's play begins as a drama of youth and sets out to tell the story of a boy (or young man?) who is searching for his father and turns up one evening in front of his grandfather's house. In parallel, the play's second narrative strand tells the story of what proves to be an impossible, untenable love affair. Only as the two levels converge and merge together does the audience begin to suspect how these plotlines could be connected – and what sort of monstrous secret links the characters.
It is left completely up to the spectator how far they wish to go in fitting together the jigsaw pieces Marianna Salzmann spreads out in front of them. However, this openness is not a weakness but, quite the contrary, the play's great strength. At the same time, the author succeeds in telling this disturbing story about the transgression of a taboo empathetically, indeed almost tenderly. In her own, straightforward language, which uses minimal means to bestow three-dimensionality on each character, with a sure feel for memorably atmospheric settings, the author allows the vileness of the incest motif to take shape before our mind's eye without relying on obvious shock effects or making moral judgements.'
(From the jury statement on the 2012 Kleist Prize for Young Dramatists)

Technical Data

Premiere 20 May 2012, Badisches Staatstheater, Karlsruhe/Ruhr Festival Recklinghausen
Director Carina Riedl
Cast 1 female, 3 male
Rights Verlag der Autoren GmbH
Taunusstraße 19
60329 Frankfurt a. M.
Tel. +49 69 23857420
Fax: +49 69 24277644
Translations Theatre Library


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