A humanities scholar stands in front of a painting. A still life. In this still life sits the protagonist. Let's call him Frank. A prime example of his epoch - the Biedermeier. But the 19th century is over. We no longer live in a monarchy, and we reject authority. We like to form our own opinions! Don't we, Frank? But what's left of the retreat into the private sphere? Since the pandemic at the latest, sofa landscapes have once again become the favorite retreat of the middle class, and isn't the so-called petty bourgeois experiencing a revival? There's a fire outside, and no one is raising their fists. Where does this disenchantment with politics and the fear of finally changing things that so urgently need a turnaround come from? When will the fight for the necessary change begin? Probably when it's too late. Or isn't it already?
Caren Jeß dissects social change and its side effects. "The struggle for more justice remains in the headlock of reactionary conditions. People put on new clothes from time to time, but inside they remain the same." (Announcement Theater Heidelberg)
Caren Jeß
Das Stillleben
Auftragsarbeit für REMMIDEMMI. DAS WIDERSTANDSFESTIVAL des Theater Heidelberg
1 D, 1 H
UA: 20.10.2022 · Theater Heidelberg · Directed by: Tugsal Mogul
Das Stillleben
Heidelberger Nachrichten
Heidelberger Nachrichten
Wenn alle Uniseminare so liefen wie diese Inszenierung Tugsal Moguls, dann müsste die altehrwürdige Institution die Schotten dichtmachen – wegen Überfüllung.
Mannheimer MorgenCaren Jeß’ Stück ist brillant, ein messerscharfer Parforceritt durch die Geistesgeschichte bürgerlicher Fluchtversuche vor zu viel Remmidemmi da draußen.
Rhein-Neckar-Zeitung„Geistreich, pfiffig, kurzweilig” sei Caren Jeß` „Parodie eines kulturwissenschaftlichen Seminars” über das Biedermeier.
Solothurner Zeitung„Wenn alle Uniseminare so liefen wie diese Inszenierung Tugsal Moguls, dann müsste die altehrwürdige Institution die Schotten dichtmachen – wegen Überfüllung.”