So wild ist es in unseren Wäldern schon lange nicht mehr ("Our Forsts haven't been this wild in forever")
In the first scene a Turk is waiting near the bench for his wife while Luzi, a little girl from the "cook's school", carries around old dough in a plastic bag and sees birds-nests floating above her head. In the next scene a Pole waits for his brother's wife while Irene, dressed in a bearskin coat and spurred boots, wonders what women wear when their men come home and experiences the city as an amazing love letter directed to her. And in the final scene a Greek with a meat-grill strapped to his back is waiting for his Sybilla to make up her mind while Nathalie, the girl with the "tablecloth", hopes for a dance-ship. These three "scenes from society" are framed by episodes with three boys - caled A, B, and C - who dream of a higher life in a film which they believe to be their existence. Three times life with three different couples experiencing heaven and hell in different ways in the same situation. Real life is a chimaera. Death is also touched on as another theme. And each time it is the wrong death. The couples - Rita and Hans Rudi, Brax, and Helga, and Friedel and Marie - go under, each on its own. The first couple's child no longer has a face; it has been bitten off by a bear. The second child has disguised itself as a black woman, seeking her man beneath ruins. Friedel and Marie's child is executed as a murderer.
(Klaus Völker in the Mülheim Theatre Days programme)
Responses to the Play
Walser's characters are at risk. In their obtuseness they have many premonitions of the omnipresent possibility of ultimate downfall, and yet in a strangely somnambulent way they seem self-assured and self-righteous. (...) In this world only Reality TV provides someone to talk to and consolation. It can thus happen that television characters half venture into the home. Sad, sometimes deadly, and often ridiculous monodramas. Especially as Theresia Walser drives her characters through an artificial jungle of words whose absurdities are scarcely to be surpassed.
(Johannes K. Glauber, NRZ Kultur, 30.5.01)
The most intelligent TV drama for a long time, at long last once again bringing tidings of the still speechless world of instinctual drives and summing up the current state of love, taking final leave of the family as place of generative renewal, and also even juggling appearance and reality so elegantly that the greatest and oldest of all philosophical and theatrical themes seem absolutely new. Theresia Walser confirms her reputation as a producer of verbal fireworks and poetic punch-lines.
|Premiere||Münchner Kammerspiele, November 2000|
|Cast||2 f, 4 m|
|Rights||Verlag der Autoren |
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