Youngsters attack one another and old widows cram cakes into their empty hearts, observing everything that's happening. Until Jennifer arrives on the scene, an excessively dolled up post office employee who wants to get away from her violent bloke and, full of hope, brings about great confusion. Especially in Fredi's emotional life. Presents of kebabs and roses multiply. Then a racist taxi-driver gets carried away and the kebab stall goes up in flames. And suddenly Fredi blossoms in his own particular way into becoming a real action man and lover". (henschel SCHAUSPIEL)
"These depressed characters delight us because the author obviously really likes them, perhaps even loves them, which is rare in recent theatre since as soon as writers set about prospecting human beings' blackest depths they act as referees and stand high above their creations. Studlar allows his characters to take precedence and thus tells their story without any arrogance. Perhaps this absence of arrogance is to some extent the secret of comedy in drama. The author himself must first restrain himself in what is said through his characters so that the public can let rip with their imagination or laughter".
(from Moritz Rinke's speech when Bernhard Stucklar received the first prize at the Heidelberg Play Market)
"Transdanubia Dreaming treats loneliness and belongingness with the same mildly empathic malice as it does pub-goers' depraved views on cripples, Nazis, Jews, and foreigners, on death, love, and a passion for cigarettes. Yet it is a comedy which, if there is any predecessor at all, brings to mind the dialogue of the young Jelinek: a play of black gentleness since wickedness and horrors are everyday occurrences ..."
(Frauke Meyer-Gosau, Theater Heute, 1/2002)
|Premiere||31.1.2003, Akademietheater, Vienna|
|Cast||4 women, 7 men. Basic set|
henschel SCHAUSPIEL Theaterverlag GmbH
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