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Die Froschfotzenlederfabrik
(Frogc**t Leather Factory)en

In Frogc**t Leather Factory, the struggle for resources creates divisions that cut across a colourful cast of characters in various directions: Young versus old, town versus country, employee versus employer, people with private health insurance versus those in the statutory schemes for lower earners, each individual versus every other individual. And there is only pitiful money to be earned in rubbish jobs. The most impressive figures in this powerfully eloquent circle dance include the factory owner who left his wife long ago for the female Minister for Divergency Affairs, the factory owner's two daughters, whose contrasting lifestyles estranged them years ago, their mother, who habitually drinks to excess, and her remarkably poorly paid hospital doctor, who inveigles at least one of his patient's daughters into extremely unprofessional games of doctors and nurses. This account of a family's decline rapidly opens out into an extensive panorama of society, the background against which Kluck exposes middle-class smugness, and the hypocrisy of the German debates about political correctness and the idea of an unconditional basic income.
(Rowohlt Theaterverlag)

Responses to the Play:

‘All Kluck’s plays descend into virtuoso uproar, inspired by their characters’ impotence in the face of a society that overwhelms them and is becoming more complex with every day that passes.
The question they ask is about the sort of system we want to live in. Nothing less will do for this author. If, as Kluck’s debut put it, the “Meese Principle” means “finding our own confusion”, the “Kluck Principle” goes even further: it finds an outlet in furious rebellion against this confusion. His latest play, Frogc**t Leather Factory, begins with a letter that raises doubts about the highly popular redemption fantasy of an unconditional basic income and anticipates the major theme explored in the rest of the play: work in the 21st century against the background of a market economy that is supposedly ‘social’, but operates on the basis of cynical euphemisms […].
As usual, Kluck’s characters are outlined rather sketchily and sometimes teeter on the brink of cliché but, in their incompleteness, also offer a large number of possibilities for the performers. The author’s probing gaze explores the texts inscribed upon the land, (Germany’s) deserted steppes and regions that always appear to be landscapes of the mind as well.’
(Florian Hirsch, Jahrbuch Theater Heute 2011)

Technical Data

Premiere 21 December 2011, Burgtheater (Kasino), Vienna
Director Anna Bergmann
Cast Variable, but at least 5 performers
Rights Rowohlt Theaterverlag
Hamburger Str. 17
21465 Reinbek
Postfach 1349
21453 Reinbek
Теl.: 040-7272270
Fax: 040-7272276
Translations Theatre Library


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