Milena Michalek

"how all the small, precise, confusing life stuff; devices and feelings, whims and appetizers, procrastinators and supporting characters are cut away, chiseled away for the purpose of total narration: something so smooth and imprecise that it can be considered a parable for EVERYTHING. a work of steel."

Pier Paolo Paradiso thinks a great narrative would be good. In search of what that might be, he meets Miranda Mirandoli and Gorbi Galilei and together they form a sad gang that sets out to uphold fantasy but somehow gets stuck halfway: a fantasy tilt, a Middle Earth glitch. So they sneak through a suspect canon, half a hero's journey, and the remnants of a monolithic mono-myth monologue. The occasion and destination of the journey is Galore (oracle, sphinx, dragon, device, nature, power plant, forest, crap parent, mythos machine), who looks sometimes encouragingly, sometimes scathingly at the sad group: Relationships remain complicated. And while the desire burns hotter and hotter to get an idea of what is going to happen to the world and its inhabitants, it becomes apparent that everything (future / hope / tomorrow) will be decided by how we deal with the material that has already been there for a long time: contaminated, horrible and wonderfully great, super.
Is it possible to distill an anticipation from the brittle reality material lying around next to the grand narrative? An anticipation that, in the face of disappointment over the self-inflicted, past and future destruction of the planet, holds up what must be clung to enthusiastically: Keep going, keep telling, keep creeping.

Das Flirren was created as a play development with the cast on the theme of disappointment at the State Theatre of Hannover.