Piese de Roland Schimmelphennig

Copilul zburător (Das fliegende Kind)
November. St. Martin’s Day. A children’s service in church. Parents listen emotionally to the singing of their offspring in the choir, while in secret they are busy planning and undertaking erotic adventures. From the very beginning, the lantern parade is overshadowed by evil omens. A black car drives through town. The father feels just a slight amount of resistance under the wheels. Hardly perceptible. Was there something there? A flying child? Schimmelpfennig’s latest play is a poetic requiem in which, with its souped-up vehicles, television towers and neon advertising signs, the city appears as a dark Moloch. Even children’s songs and lantern processions have something eerie about them in this world. The bitter final punch line is like a death knell that carries on reverberating long after the action has ended.
Albina din capul meu (Die Biene im Kopf)
The protagonist has to overcome the brutal challenges of a daily routine, with the little help of being able to turn into a bee, if necessary…, really?
Femeia din trecut (Die Frau von früher)
“A family is moving house. Frank, the father, will be working overseas and Claudia, his wife, is going with him. Their son Andreas will also relocate with them. He now has to part from Tina, his first great love. Hope is in the air, hovering over mountains of boxes and luggage. And a sense of something coming to an end drifts through the emptied house, brushing past memories that have been sorted out and become meaningless. Tina, who is soon to be abandoned, sees the matter realistically. In his mind, Andreas is already more there than here. Everything seems to be ready, to be done and dusted; life pauses for a moment, then they hear knocking... Romy stands at the door. Romy is Frank’s past, forgotten many years ago. Romy Vogtländer was the father’s first great love. Long before Claudia and Frank got to know each other, married and started a family, long before Andreas was born. Romy knows what happened and what is important to her. She loves Frank. She returns and urges Frank to recall his vow: I will always love you! Romy knows no mercy! Frank begins to lie, stutters: Could, should we really dare... to think? Everything is packed and all sorts of things could happen!” (Burgtheater, Vienna)
Die vier Himmelsrichtungen
A man has an accident with his lorry. He leaves the load lying in a ditch by the side of the road and sets off on his way to a better life. Another man finds the abandoned boxes while he is commuting to work in the morning and hopes to use the colourful modelling balloons he discovers in them to try his luck as a cabaret artist. One comes from the north, brings rain with him and buys himself a revolver; the other comes from the south and has two tongues. Both fall in love with the young woman with the Medusa hair. She works as a waitress and is accompanied by the wind from the west. Life leads people together from the four points of the compass, apparently at random. And only Madame Oiseau, the soothsayer from the east, knows that they are becoming each other's destiny. And that today someone will be going away forever.
Dragonul de aur
O piesă cu mesaj moralizator în care durerea şi umilinţa nu pot fi judecate, care reliefează faptul că în societatea acualăt compasiunea este înlocuită cu plăcerea abuzului. Acțiunea se petrece sufocanta în bucătăria sufocantă a restaurantului ''Dragonul de aur'' unde ne confruntăm cu disperare şi violenţă. Aici vom descoperi legături aparent inexplicabile între imigranţii ilegali, un cuplul scindat de trădare, sexualitatea brută mascată în iubire?
Femeia din trecut
“A family is moving house. Frank, the father, will be working overseas and Claudia, his wife, is going with him. Their son Andreas will also relocate with them. He now has to part from Tina, his first great love. Hope is in the air, hovering over mountains of boxes and luggage. And a sense of something coming to an end drifts through the emptied house, brushing past memories that have been sorted out and become meaningless. Tina, who is soon to be abandoned, sees the matter realistically. In his mind, Andreas is already more there than here. Everything seems to be ready, to be done and dusted; life pauses for a moment, then they hear knocking... Romy stands at the door. Romy is Frank’s past, forgotten many years ago. Romy Vogtländer was the father’s first great love. Long before Claudia and Frank got to know each other, married and started a family, long before Andreas was born. Romy knows what happened and what is important to her. She loves Frank. She returns and urges Frank to recall his vow: I will always love you! Romy knows no mercy! Frank begins to lie, stutters: Could, should we really dare... to think? Everything is packed and all sorts of things could happen!” (Burgtheater, Vienna)
Aici și acum (Hier und Jetzt)
A wedding party out in the open air on a summer evening. It is late and still warm. Some of the guests have musical instruments with them. Now and then, they play a couple of bars of a melody. There is a great deal of eating and drinking. A woman talks into a pram. In the middle of the table sit the bride and groom. She thought she would be riding to the church in a horse-drawn carriage, and she thought there was no way her husband-to-be would arrive totally drunk at his own wedding. It is the story of Katja and Georg. How things are, what they were like previously and how they might end up later. How Georg, the man whose wife has left him, maybe loses his mind and wanders through the meadows and the woods around the town with his brass instrument, an old horn. Suddenly it begins to rain. Snow falls onto the earth. The moon rises, night falls and spring could be arriving. Possibly we hear a couple of birds. The here and now. The now or never. Before or soon. Unfortunately not. Too late, too early. Not now. The never more.
Noapte araba Text disponibil online
Piesă despre condiţia emigranţilor în Europa de Vest, o stranie împletire de fantastic şi de real, o fabuloasă punere în pagină a crizei de identitate care marchează acest secol
Push up
Piesa se desfășoară în birourile unei mari corporații, personajele fiind angajații acesteia, oameni competenți, inventivi, duri și nesinceri, care își ascund cu abilitate adevăratele gânduri. Au loc confruntări succesive între personaje care se situează pe poziții opuse, care ăși ascund animozitățile sub masca profesionalismului impecabil.
Vizită la tata
Un tînăr ajunge, în toiul iernii, acasă la tatăl pe care nu l-a văzut niciodată pînă acum. Tatăl, care a îmbătrînit muncind la traducerea Paradisului pierdut de John Milton, s-a îndrăgostit de nepoata lui, cu care fusese la vînătoare de raţe. Au şi vînat una, iar dilema lor „existenţială” este că nu ştiu ce să facă mai departe cu ea. Soţia lui, Edith, se îndrăgosteşte de fiul nou-venit, care, însă, preferă, în cel mai concret mod, alte două femei din casă – pe Sonia şi pe fiica lui Edit, Marietta. Această „constelaţie” de personaje, pe cît de contemporane, pe atît de cehoviene, compune o suită de schiţe, un caleidoscop de imagini, stări şi sentimente, care conduc la rezolvările cele mai contradictorii.
Demult, în luna mai (Vor langer Zeit im Mai)
A man on a bicycle cycles pointlessly in large circles around the stage until he crashes into a wall. A woman in a rococo dress flits indecisively across the set. A young woman struggles with a heavy suitcase. A couple exchange meaningless melancholic remarks about bicycles, suitcases and women, a woman with a broom, a pair of lovers. The author allows his characters and their actions to meet up and run alongside each other, blends people and their acts, shows the past (the lovers) and the present (the couple), then, resigned, allows the conclusion to be drawn: "Sorry we're not the way we once were. Sorry that May won't ever be the way it once was, so many years ago.” A bittersweet, absurd comedy full of lightness. (Elisabeth Fibich, theatre section of Goethe-Institut)
Înainte/După (Vorher/Nachher)
In the play the audience's attention is directed in 51 short scenes towards individual moments in the lives of a large number of nebulously described characters who are by chance staying in the same big hotel at the same time. Some of them - such as "The Man with an Insect Jar" or the "Two Dancers" -- only make a single appearance, while "The Woman around Thirty", who would like to leave her husband after ten years of partnership and starts a relationship with "The Man from Another City", comes into focus time and again. So too does "The Woman around Seventy" who does everything in the dark so as not to see herself - and the man who is left by the "The Woman around Thirty" and wants to take his revenge by getting involved with "The Red-Haired Woman". Another woman, suppressed by her husband, tries to get back on her feet again by remembering a Great Aunt's basic principle of preserving a sense of humour despite all her suffering.

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Biografie Roland Schimmelphennig 

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Roland Schimmelphennig

Roland Schimmelphennig s-a nascut la data de 1964 in Göttingen, Germania.



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