Heidi Hoh arbeitet hier nicht mehr ("Heidi Hoh Doesn't Work Here Any Longer")
(Rowohlt Theater Verlag)
Responses to the Play
Perhaps René Pollesch is the theatre's last anti-capitalist. But perhaps he is also the first person to offer a credible stage depiction of employees' sufferings during the postmodern technological age. Plays like "Heidi Hoh arbeitet hier nicht mehr" or "Frauen unter Einfluss" have succeeded in presenting what is lacking in other German productions: artistic criticism of globalization.
(taz Magazin, 15.9.2001, KÜP)
"Heidi Hoh doesn't work here any longer". "She doesn't work at home any longer". "But you could create conditions, at home or in your workplace, which do not delude you into thinking that a life worth living exists somewhere else". "That is not the case". "Heidi Hoh arbeitet hier nicht mehr" presents the way in which the spheres of work and home are intermingled when the domestic realm is organized as a business so as to serve some company. Now the home is no longer a friendly place and Heidi Hoh no longer lives there either. Instead she leads a partisan existence as a homeless teleworker who can plug in her Notebook anywhere.
(Deutschland Radio Berlin)
"Heidi Hoh arbeitet hier nicht mehr" tells the story of teleworker Heidi Hoh and her female colleagues. Their firm is to be found on the internet and their workplace is on a computer at home. What is the inner world and what the world outside? What is private, what public? All traditional orientation systems break down here. Life in general in the age of globalization seems to become a shapeless flux. The only resistance that remains for these women is highly vocal hysteria. But this 'only' is imposing. Pollesch makes fascinating theatre out of such a situation. Psychedelic terror in dialogue form and musical screams.
(Tom Peuckert, Tagespiegel online, 2.3.2002)
|Premiere||Podewil, Berlin (in a co-production with the Lucerne Theatre), May 2000|
|Cast||3 f. a basic set|
|Rights||Rowohlt Theater Verlag |
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