It was seen was about three o’clock that night, in the “Dark Star”, the last performance by René Pollesch at the volksbühne. After a total of almost twenty years, in which he was influenced as a writer and Director, the house on the Rosa-Luxemburg-Platz is crucial. And to conclude, another three of his pieces from last season showed once Again that feeling of life, wise and everyday to become more powerful. As so often, if you had the opportunity to see his pieces. And over the years distributed to the value of a used car will be invested for theatre trips to Berlin, Hamburg, Vienna, Munich, Stuttgart and Zurich, where the 56-Year-old staged. Here, as a provisional balance my Investments – the seven great deeds and Teachings of René Pollesch. On the eve of his next Premiere, the game on Friday at the Zurich Schauspielhaus, the stage will go.

1 well over a hundred pieces Pollesch has written since his breakthrough twenty years ago, and staged. That alone is actually a performance, you want to be a hat lift off. Pollesch has done far more for the man he would build a monument: His productions can be understood as a defense of intelligent Comedy, which is itself threatened in the reserves of the art in danger of extinction. Especially in the Theater , where from time immemorial the turbid tragedy dominated. In contrast, Pollesch plays with his pieces, which carry such fun titles such as “You fucked up the pan you Fried the terror”, “love is colder than capital” or “I love you, but I’ve chosen Entdramatisierung”.

2 Pollesch’s theatre is just a great Fun not work, they can also be used as a serious response to a complex reality to be understood, in which the orientation seems to be difficult. “Where are we here?” “What is this here?” “I have no idea what this is,” are questions and sentences with which his pieces in the last two decades, opened. Especially Pollesch’s early works seem today, almost visionary: you took on the precarious work conditions, who knows in the age of digitisation, of the home office and the Laptop nomads almost everyone. In the case of Pollesch it went all already to the turn of the Millennium – in a series such as “World Wide Web Slums” or in “Heidi Hoh is no longer working here”. The despair was so great that the actors in a loud geschrienes “Shit!” served as punctuation in your sentences. That was just weird. It could also provide relief, as in the case of Pollesch, the despair came in the emotional outbursts more to the point, as we could even in the largest digital transition feel and articulate. True to the Pollesch-motto: “despair looks only to live really well.”

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3 Pollesch ‘ pieces of what is regulated or not is to free. To do this, the compulsion to creative self-realization, the absolute love, or the desire to have the perfect day for him. All this is exhibited as an invention. “Why is it, for us, the perfect day? Why do we believe in the inventions? Why do we want to rely on all of this?”, the actor Fabian Hinrichs asked in Pollesch’s “The perfect day”. “We prefer a big word of Adorno: “he Who dies in despair has lived in vain”,” it was said another Time, “or was that Monty Python?” Ultimately, each Pollesch can be seen as a Tibetan prayer mill, one of which is for him the speech was: “You write a prayer, put the piece of paper in the mill and turning it, or the Wind makes, and will continue to pray for you. You don’t have to pray.” So, this is also Neyine the case of Pollesch In his pieces will thought of something, what can provide relief. Like a prayer, hoping for salvation.

4 may have To be theatre-unloading function, works Pollesch with hard theories, he assumes, among other things, by the American biologist Donna Haraway. Or by the French psychoanalyst Jacques Lacan, on the example of the Tibetan mill prayer goes back. “Visual AIDS for the reality called” Pollesch such theories, to be used for him””. Sounds complicated, but it works pretty much like in John carpenter’s Science Fiction Film “They Live!”, in an unemployed day laborer in a dumpster at the sun glasses, which enable him to identify messages such as “Obey!” or “This is your God”, hidden otherwise be invisible behind billboards or dollar bills. Carpenters Pollesch’s theories are glasses. With you should be true to what promises to be a piece of the title: “I look you in the eye, a societal Delusion.”

5 Pollesch himself has developed his pieces away a theory of how the world can be seen. “I’m a Fullback,” he said. Its most important fact is brought to the point: With his theatre, he is playing against a Ego-cult, and thus against all that you to optimize Yourself or your arousal as evidence that you are fully in the right. In the case of Pollesch all this as a hoax is unmasked, just as the delusion connection, especially if of big emotions such as love. Or of authenticity. Because what we keep for ourselves, is nothing else than a product of our culture. Yes, it is so powerful that they colonized life of our interior that we can confuse the Inner with the Outer, social discipline with ourselves. “Drop your Ego!”was the call of a Pollesch-piece, with which he announced himself as what makes him as a wingback so remarkable: It shows how to get rid of imaginations and a new game can conquer.

6 How to set up the rooms, let in a of Pollesch’s Munich staging of the experience: “Keep out,” “Stay outside”, flaunted on the stage. In the piece, a Take-away tool that you can always do, if it is once again difficult. “The feelings just times out”, it was called. “It makes everything else so happy on the outside. That’s what it is, but everywhere, keep out.”

7 Pollesch are so great to Work with and not least because he imagines, in contrast to many other theatre-makers in the full possession of his teaching authority. “We have not done it for you,” it was said at the end of Pollesch’s “Kill Your Darlings!”, one of his most important productions, which is also available on DVD. What is meant is: What is played on the stage, intended primarily to work for the actor. But it can also be understood as a premonition of coping techniques. Because what in the places of the theater is the effect of that could also work elsewhere. Or as it says at the very end of Pollesch’s “Kill Your Darlings!”, “do it for you!”

Pollesch’s new play is not to say: “I know what it is, I only know his price.” (Sunday newspaper)

Created: 08.12.2018, 19:47 PM