There are three women on the sidewalk. Maybe elderly. In plastic chairs. But the street shows cracks. Can this be sustained as a condition? The women, whose world is only sidewalk, ask themselves. And whether the sidewalk without a road is still a sidewalk at all? So they fill the cracks with what is available: Words, spit, blood and bare hands. Smart and comical, these women are revolve around themselves talking busily , while the text itself already shows the first cracks: Footnotes. With them it penetrates the world that is not the sidewalk. And at the latest when the asphalt takes the floor, the sidewalk/street relationship must be completely rearranged.
"When does a problem affect us? When do we get involved? And what is it worth to us to be saved? Three women sit in white plastic chairs on the sidewalk and discover cracks in the asphalt. With their bare hands, spit and blood, they try to putty them to hold their world together. During the bustling and unsuccessful scraping, witty, clever dialogues emerge, in which other voices zoom in via footnotes from the microcosm to the macrocosm: they report on economic and social imbalances, on grievances and uprisings. And the seditious asphalt with its cracks and distortions also interferes in the dispute about identity and commitment, about power and powerlessness. In a very individual, poetic sound, Eleonore Khuen-Belasis creates an absurd scenario in ruhig blut, which nevertheless has numerous anchor points in the present and expresses an attractive invitation to play." (Statement of the jury for the Autorentheatertage at the Deutsches Theater Berlin 2019)
3 D, 1 H
UA: 8. Juni 2019 · Deutsches Theater Berlin mit einer Produktion des Schauspielhaus Graz · Directed by: Clara Weyde