Nuovo teatro tedesco - Teatro

Die Firma dankt (The Company Thanks)en

The company has got a new management team that has still not announced its strategy for the future of the business. Adam Krusenstern, the 40-something head of the development department, is the only employee invited to a weekend at the company's guest house, where he is possibly supposed to get to know members of the new board. Krusenstern is nervous. He is not sure what awaits him at the smart country estate. Mayumi, the young, attractive assistant to the new management, unsettles him with her friendly, solicitous manner so that his conversation with her keeps slipping unhappily between the flirtatious and the avuncular. His encounters with the new head of human resources, Hansen, und Ella Goldmann, who introduces herself as a coach and representative of an assessment centre, do not go any better. Small talk is not his strong point, Krusenstern's passing remarks seem to annoy the others, and no one is either able or willing to tell him what the real purpose of this weekend in the country is. The studiedly casual, unconventional behaviour of the intern Sandor is an additional irritation for Krusenstern, who places great emphasis on good manners at work. After an hour lazing around in the sauna and a relaxing round on the golf course, they decide to throw a party together in the evening, at which point Krusenstern is finally overtaken by utter bewilderment. Is there anyone here who wants to work? What will happen to his other colleagues in middle management? Is Krusenstern just gambling away his job by being inflexible and overly straight-laced? And which of the people present is really his opponent?
(Verlag Hartmann und Stauffacher)
Responses to the play:
'Hübner's strength are precise, pointed utterances with revealing nuances. […] The new economy is a dubious castle in the air, as Hübner shows with sufficient clarity. It no longer has anything to do with our good old worlds of work. Nevertheless, Hübner's drama is much more subtle and precise than the black-and-white ideas people like to put forward about the employment market. […] Hübner does not mete out praise and blame, nor does he serve up clichés. He brings things very directly to a head, he uncovers where conflict, fear and hatred really lurk. In doing this, he is angry enough to have an unerring aim, yet professional enough to wrap the whole thing up in a story that allows the audience to enjoy themselves. To put it plainly, it is a good job well done. Apart from this, Hübner skilfully escalates the dramatic situation. He not only draws with great precision, he caricatures as well, tightening the screw a little further, intensifying the conflict into the grotesque, until the madness of reality blooms.

All this makes Hübner the pioneer of a new kind of concrete, socially relevant drama.
(Peter Michalzik, Programmbuch der Mülheimer Theatertage 2011)
Technical Details:
Premiere 27.01.2011, Staatsschauspiel Dresden
Director Susanne Lietzow
Cast -
Rights Verlag Hartmann und Stauffacher
Translations Theatre Library

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