Translated from the French by Serge Stauffer
The title may take some getting used to, but the content certainly isn't. Ionesco's "anti-play" from 1948, which ignores all the rules of theater that had been in force up to that point and in which not only a wall clock goes crazy, is considered the founding document of the theater of the absurd, which became famous in the 1950s through Samuel Beckett and others.
Image gallery
Deutsches Theater
Created as a reaction to the atrocities of the Nazi era and the Second World War, the form and content of the theater of the absurd postulates meaninglessness as the only meaningful state of existence. The result of this deeply melancholic inventory is, however, with Ionesco highly amusing: bizarre figures in humorous situations result in full theater, in which bizarre dialogues increase in a firework of meaningless phrases and nonsense sentences.
The plot - if you can call what happens that way - is quickly summed up: Mr. and Mrs. Smith, who are bored after dinner together, are visited by a couple of friends, who first have to clarify when they appear if they know each other In the end, the two are pleased to discover that they sleep in the same bed, are married and have a child.
The evening's entertainment for four, on the other hand, gets more and more strange: the maid Mary thinks it's Sherlock Holmes, a fireman is looking for a fire to put out and causes additional confusion; you can find out for yourself what the "bald singer" is all about.
Takeover of the production from the Schauspielhaus Graz
Participating artists
Anita Vulesica (Regie)
Henrike Engel (Bühne)
Janina Brinkmann (Kostüme)
Camill Jammal (Musik)
Mirjam Klebel (Choreografie)
Karla Mäder (Dramaturgie)
Beatrice Frey
Moritz Grove
Frieder Langenberger
Katrija Lehmann
Raphael Muff
Evamaria Salcher
