Photo: Judith Buss Photo:

MK:

Die Politiker

By Wolfram Lotz
Directed by Felicitas Brucker

 Schauspielhaus
 Premiere: 4.7.2021
 1 hour 5 minutes
 German with English surtitles
 Thu-Sat: 15-45€, Sun-Wed: 10-40€, under 30 years each seat category: 10€
 Schauspielhaus
 Premiere: 4.7.2021
 1 hour 5 minutes
 German with English surtitles
 Thu-Sat: 15-45€, Sun-Wed: 10-40€, under 30 years each seat category: 10€

The visionary Wolfram Lotz interviews a species that doesn’t even exist. Who is this supposed to be, “the” politicians? With Lotz’s cascades of text we immerse in a radicalized, nocturnal stream of thought about what politicians can do, must do, may do, should do, shouldn’t do, may not do, and may not do at all. His latest work is an extremely musical, playful, humorous, bitter meditation that drills into one’s hearing and brain.

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Background information on the play and the production

Press Reviews

„… ein Ereignis. (…) Mit beeindruckender Wucht bahnt sich der Text seinen Weg durch diese Körper nach draußen.“

Süddeutsche Zeitung • 5.7.21

“The Kammerspiele’s terrific ensemble is also front and center in “The Politicians,” a dramatic monologue by Wolfram Lotz. It’s a lengthy poetic manifesto that feels outraged and urgent — though what it means isn’t always clear. In its incantatory power and rhythmic flow, it can be mesmerizing on a purely aural level, and its mix of sense and nonsense opens up an infinite number of theatrical possibilities. (…) the director Felicitas Brucker distributes Lotz’s text among three performers. For a little over an hour, Katharina Bach, Svetlana Belesova and Thomas Schmauser declaim the agitated text with white-hot intensity.”

New York Times • 28.10.21

“In Felicitas Brucker’s concise and furiously paced staging at the Münchner Kammerspiele, three performers give a dazzling rapid-fire delivery of this enigmatic and repetitive text. Clocking in at 65 minutes, “The Politicians” feels like a sustained freak-out: an exhilarating roller coaster of bravura acting and transformative stagecraft, in the service of a distinctively bold (and odd) new dramatic text.”

New York Times • 16.12.21