"Most theater-people are (of course, there are exceptions) dickheads." With this dedication, the author begins his grand march through all imaginable capitalism-criticism clichés and all established views that have prevailed over the last few years in German theater and which have ultimately become the new standard. In the end, he offers us a clear view of a new, radical, anarchistic, poetic, and also perplexed view of the world, one which will shake off all our expectations about art and all the standardization of political discourse to conquer new territory.
The form of the play is a revue, powerful and extremely funny. An aggressive, politically correct, idiotic actress leads through the evening. Themes and guests are the RAF, Horst Mahler, Josef Ackermann, president of employers Hundt, Bakunin, Hamlet, Prometheus, the author himself and his mother, "the reality" in the form of a group of welfare recipients, the desire for immortality, and a wonderful, unspectacular poem.
Lotz shatters the feasible and exhausts all of the possibilities and impossibilities of the theater. His idiosyncratic form seems almost unplayable, forcing every direction team to struggle with the author and the text. Anyone who stages this play has to come up with something; basically, he has to reinvent the theater. This is already a great pleasure to read, so you can look forward to all the performances which will be risked in the coming years! (Falk Richter on Der große Marsch)
Der große Marsch
Gewinner des Publikumspreises und des Werkauftrags beim Berliner Stückemarkt 2010
2 D, 13 H, 1 Kind, 1 Gruppe echter Sozialhilfeempfänger, 21 mongoloide Kinder, 50 wunderschöne Frauen (Mehrfachbesetzung möglich)
UA: 20.5.2011 · Ruhrfestspiele Recklinghausen (Eine Produktion des Saarländischen Staatstheaters Saarbrücken) · Directed by: Christoph Diem
Translated into: Czech