"Twopence-Twopence und die Voodoothek (i.e. "Twopence-Twopence and the Voodootheque"
"In diesem Kiez ist der Teufel eine Goldmine" (i.e."The Devil's a Goldmine in this quarter")
"Diabolo - Schade, dass er der Teufel ist" (i.e. "Diablo - a Shame He's the Devil")
"Die Magie der Verzweiflung" (i.e."The Magic of Desperation")
René Pollesch’s social satire and theatrical soap opera “Prater-Saga, 1-5” consists of five evenings of theatre, a set of loosely interconnected plays in which he discusses a series of variations on the central themes that come up in his social criticism again and again – globalisation, capitalism and the human being as a commodity or a free individual. As in Pollesch’s previous plays, the action provides a starting point for the development of dialogues and the actors’ own reflections:
The film director Twopence-Twopence and the demon Diabolo are making a film at the luxury villa of the Ghanaian businessman Bigman in Accra. Their work combines Bollywood style with voodoo ritual in order to produce images of the urban life of the rich as a cinema of desire. During the filming, Bigman falls in love with Twopence-Twopence, but the only thing she desires is his couch.
Finally, they put on a kind of live reality show in which they search among the audience and on the street for real people to act in the saga being filmed, who then have to negotiate their fees in a tough round of talks. The “Saga” continues with discourses on the flood of images that surround us every day and how, if at all, they are to be comprehended until, in the last part, the setting moves to a Swedish estate of terraced houses (which differs only insignificantly from the residential landscape of the luxury villa in the first part). Here the characters have yet another opportunity to pursue the fundamental structures of human relationships and communication and thoroughly analyse the question of true love.
Responses to the Play:
“The ‘Prater-Saga’ tells of a world in which we […] have had to abandon the dominant machinery of our conception of the human and put our heads on the line in this emptiness! Acts that provoke total incomprehension. Rebellious acts that provoke so much incomprehension. Or indeed non-acts. For which we no longer have enough adequate explanatory models. If we could have all this in a video film. So we can work on the construction of images that somehow help us understand the things we do together."
“However, it is not actually either demons or Voodoo priests that are at issue in Pollesch’s shared house […] but, as always, love in particular, discourse in general and the question of what came first, the desire or the object of desire.”
(Peter Laudenbach, “Der Tagesspiegel”, 2.11.2004)
“In Pollesch’s theatre, text is not a principle that is intended to generate identities, but an intellectual process in which the spectator and the actor, both constantly at the limits of their capabilities, participate with pleasure.”
(Munich Kammerspiele, 2006)
Prater (Volksbühne am Rosa-Luxemburg-Platz), Berlin, 14.10.2004; Prater (Volksbühne am Rosa-Luxemburg-Platz), Berlin, 2004; Prater (Volksbühne am Rosa-Luxemburg-Platz), Berlin, 10.12.2004; Prater (Volksbühne am Rosa-Luxemburg-Platz), Berlin, 20.03.2005; Prater (Volksbühne am Rosa-Luxemburg-Platz), Berlin, 20.03.2005
|Directors||René Pollesch; Jan Ritsema; GOB SQUAD; Stefan Pucher; René Pollesch|
|Rights||Rowohlt Theater Verlag |
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