Two women meet by chance. They are very different. Maybe that's why they like each other. Or maybe they are simply lonely. A cautious friendship develops between the two. Theta breeds pigeons and takes Erike with her to her allotment garden. For Erike, it is as if a new world opens up. The friendship with the older Theta challenges her and makes her happy. But everything is finite. What remains are followers of civilization: pigeons and rats and flies and martens. This piece, in which Caren Jeß celebrates the fascination of their disgusting beauty, is also about them. Lyricism, lyrics, punk, prose and drama run wild, while the encounter of these two strange women is described in such a touching way that the heart keeps stopping with happiness.
What will we be left with when culture is lost? Caren Jeß knows how to transform even this dystopian question into addictive pleasure. Be it with the songs of the punk band The Toothbrushes, subtextual profundity or obscenely beautiful poems. And one thing becomes clear: as long as all this succeeds with such lustful exuberance, culture can't get lost at all.
Caren Jeß
Dem Marder die Taube
Entstanden im Rahmen des Berliner Ensemble-Dramatiker:innen-Fonds, unterstützt durch die Heinz und Heide Dürr Stiftung
2 D, 1 Punkband, 1 Hund
UA: 30.4.2023 · Deutsches Theater Berlin · Directed by: Stephan Kimmig
Translated into: Turkish
Dem Marder die Taube
nachtkritik.de
nachtkritik.de
Jeß’ Vermögen liegt in der abseitig erscheinenden Verbindung von Großem und Kleinem, Bedeutsamem und Nebensächlichem, die sich zu Momenten existenziellen Befindens in einer unsortierten, prallvollen, überfordernden Welt verdichtet. Das macht nicht immer Spaß zu hören, aber es ist ein eigener, markanter Sound mit einem ganz eigenen Weltzugang.