Hansjörg Schertenleib

SOMEONE moves at the edge of the stage
SOMEONE’S voice speaks, speaks about himself: “Brought into the light in November 1950. Happy in my basket. It stood in the neighbours’ shadows. Perfectly, right at the edge of the school-house roof. I managed walking and the spoken word very well.”
The speech continues in a rhythm that explains his “head palace”, the “empire of thought”. ‘You are my skull / a dark labyrinth
Never / you will never understand it.”
SOMEONE screws himself into his narrative gait.
Speaks – that is – of his obsession: “Unfortunately there is no-one / closer to me than / my dick / nothing.”
Speaks without signalling, in a stream.
Speaks of his “onanomatic machine for guys milkers electric clean efficient”.
The flow of speech turns into a death-screw: he speaks about himself, gives all of himself: “Everything hangs together / so it hangs with everyone / everything together with / me so everyone has / my mistakes / consequences everyone / draws mistakes out from me / mistakes out from others / out after them automatically / after themselves for example / …”
Consequence: “He turns on his auto-erotic installation. He dies. Perpetual darkness. Silence. Silence. Silence, forever. EXITUS.”
The monologue turns SOMEONE inside out and echoes again in Gewölbe. This monodrama has many words and a great stillness.