Ein ironisch-komisches Solo, das die Grenzen zwischen Hoch- und Alltagskultur, zwischen abstrakter Symbolik und einfachem Slapstick auslotet. Befindlichkeiten und Begrifflichkeiten stehen zur Disposition, festgefahrene Gesten und Konventionen des Theaters werden ad absurdum geführt. (Quelle: Hauptstadtkulturfonds)
The space is brightly lit: on stage a chair, a table, a lamp.
Everything is in place.
A man enters. He lets the audience watch him. He smiles. His expression changes. He cries.
A mouse has been squashed, eliminated.
A woman kills her husband, and two children.
A pair of shoes, fake, speak with eachother before walking into shop window.
The crux of the “dramedy” revolves around one obsessive reflection: everything is, at the same time, true and false, real and fake. This theme is developed through the mingling of the tragic, the absurd and the ridiculus.
Everything is perceived, thought, filtered, performed.
Everything is both inside and outside of my head.
Representation can be more real than reality; reality can be more false than a badly-told lie.