Piese de Theresia Walser

Lumea întreagă (Die ganze Welt)
'When the guests do not come to the party, the party simply comes to the guests, whether they want it to or not. And Richard and Regina definitely do not want anything of the kind. Once, they used to celebrate wildly at length, travel a lot, go out often; today, hidden away in their large empty flat, they savour good food and seclusion alone as a couple. However, since the world has its own laws and people are damned to sociability, Richard and Regina suddenly find their neighbours, Dolf and Tina, standing in the doorway, armed with wine bottles and platters of schnitzels – the prelude to an anti-Strindbergian dance of death. With razor-sharp one-liners and a tremendous amount of fine detail, Theresia Walser and Karl-Heinz Ott observe what happens when a classic 'let's-talk-about-it' couple meet up with two passionate lovers of silence, when verbal exhibitionists encounter curmudgeons who hate company. Contrary lifestyles crash together, a conflict that is as comical as it is unsettling, but generates large quantities of frictional energy throughout as these passionate advocates of incompatible ways of being trade verbal blows that ultimately escalate into the physical.' (Rowohlt Theaterverlag)
Eroina din Potsdam (Die Heldin von Potsdam)
The action is based on a real occurrence in 1994. After a serious fall, an unemployed woman, the mother of three children, pretended that she had protected an old lady against a group of skinheads and been wounded. After several days of media attention, making the most of this supposedly heroic deed, she admitted she had not told the truth. Paula Wündrich, the main character, is also without a job and going downhill socially. She is made a public "heroine" after having claimed in hospital, where she is lying severely wounded, that she saved a Turkish woman from skinheads who then threw her out of the train. The story is thankfully and greedily taken up by the media as a demonstration of real civil courage in the face of frightening Neo-Nazis. Paula at first enjoys the attention she thus receives before recognizing that the lies presented by society as truth are much worse and even urgently sought as a confirmation. So Paula finally admits to her lie on television so as not to play along but rather uphold her own truth and real identity.
Lista finală (Die Liste der letzten Dinge)
“Pia and Helen, two middle-aged women, are determined to redeem the world from itself. Bound to one another in a love-hate relationship, they are waiting for the inquisitor, with whom they will go through their last things – things that are already being spoken of anyway, even in his absence. Until a third, younger woman appears, Georgina, who awakens unpleasant memories and dark premonitions in Helen and Pia.” (Rowohlt Theaterverlag)
So wild ist es in unseren Wäldern schon lange nicht mehr
In a heavenly comedy of hell on earth, the dramatist brings together her characters on a bench in front of a city railway station, frequented by down-and-outs. Three couples, each of which has a child, have a rendezvous in this place. 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)
The author explores the relations between the sexes with a light touch and a sure instinct for comedy. On the one hand, she shows a group of men who sit around drinking: Albert, who feels it is best not to have anything to do with women; Olaf, who is happy when he is not allowed to smoke; Rainer, who dreams of women’s feet; and Georg, who will bet anything his wife is faithful. On the other hand, the author contrasts these men with four women in a hotel bar. Three of them work together: Leonie, the group’s spokeswoman, Lydia, the password breaker, and Ines, who is supposed to remind Leonie to think about her husband. They are waiting for an Italian partner with whom Leonie is hoping for a much closer relationship – both business and sexual.

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Biografie Theresia Walser 

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Theresia Walser

Theresia Walser s-a nascut la data de 12 iunie 1967 in Friedrichshafen, Germania.

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