Roland Schimmelpfennig

In the last part of the Trilogie der Tiere (Trilogy of Animals), time and place are suspended, the dead wake up next to the living, and the differences between them are barely discernible. People cling to the past, the future seems bleak and the weight too heavy, every bottle of beer is tainted by memory. They have no strength to clean up. Young girls crave satisfaction, as virgins they dig their own graves. The characters of the previous plays form a band of the failed. They wander about helplessly, lost in a world that has forgotten them: Peter and Isabel, Frankie, the lovers of a previous life, the lost, and those who now talk to birds. They act without joy or hope. Dreams don’t exist any more. Life is mostly over. Darkness sheds no light, yet it is hope that dies last. All endings contain a beginning: “There is a glowing mouse here. The mouse is bald, it has no fur, no hair. It glows in the dark, you can see it with your bare eyes.”
“So far, so complicated. Every-day logic disdainfully bids adieu, because it has no business here. And yet: the 80 minutes of the production are the purest pleasure, fascinating and touching at the same time.” (Die Welt)