Someone should finally tell that poor bastard that there's nothing more to do. The guy's emotional blindness is in direct contradiction to his compulsive urges to get a lot of work done in a hyperactive way and be constantly busy.
Marius Schötz's new work at the Volksbühne Berlin transforms the myth of Sisyphus into an original musical with strokes of melodrama.
I. I invited him and I was so excited that he was coming.
Finally he accepted. I lured him with good internet and food. Actually, that's all it took. We spent the whole day playing games. We went for a walk in between. It was really nice. When you stay indoors, you never notice that spring's coming. At the end of the day, it must be said: Terrible terrible terrible.
V. The woman on my shoulder has fallen asleep.
We went to a friend's house and now we're sitting, exhausted from all the food, in the 4 on the way home. An empty bottle of Mumm sparkling wine – the gilded, special edition – lies on my lap. I took it back home with me because it looks chic. I gaze out the window at a guy, who's totally high and kicking the window at this very moment, because the doors closed right in front of him.
XII. Too bad we all have families.
And put so much effort into being recognizable. That doesn't make any sense. Psychoanalysis says that internal objects serve as a basis for our later relationships. Our significant caregivers are internalized as something objective in the early childhood stage, so that they remain in us even in their absence. However, this representation does not necessarily correspond to the real internalized person(s), it should be understood more as an impression or concept. Representation and its consequence, projection, are therefore about the attempt to create proximity where there cannot be any.
CXVII. Someone should finally tell that poor bastard that there's nothing more to do.
The guy's emotional blindness is in direct contradiction to his compulsive urges to get a lot of work done in a hyperactive way and be constantly busy. As if he would turn all his repressed fears, which seem to be of outbreaks of chaos and loss of control, into a constant doing and would drop dead on the spot if he had no more tasks to complete. Strangely enough, almost all these scenes take place in the dark. I do like to watch them, as everyone gradually gets tangled up in shit.
MLXXIV. My revenge is the first feeling I get to mercilessly exploit here.
In the past it was all divided up differently between the sexes. Like holidays, love is not a fundamental right that must be defended. Giving up responsibility and becoming one with something is not the same as admitting weakness. Because whoever comes along with strong emotions is set on winning. I miss you. How are you doing? Not so good. That's why I was online the other day, looking for comfort, and I found some sayings on timeblossoms.com. I hope you like them.
With: Jella Haase, Carolin Knab, Paula Kober, Theo Trebs and Jia Lim, Gesa Schumann, Andreas Frey, Horst Jaitner
Director, composition, camera: Marius Schötz
Stage design, video: Robin Metzer
Costumes, video: Florian Kiehl
Lighting: Hans-Hermann Schulze
Dramaturgy: Johanna Kobusch, Marthe Meinhold
- 2 hours