The Vogerl is a strange being. Half woman, half bird, very sexy, feathered, childlike proportions. And the Vogerl is in the living room along with the mother and her child; they live together. The child is quite satisfied with life. The mother seems to be on autopilot; perhaps this is connected to the death of Ida, who was also once her daughter ... But life goes on, and the child goes to school, and the mother goes to the living room and looks a little distant. This is how life looks, and, in fact, it can go on for quite some time like this. That is, if it was not for the Vogerl with his "Tschiwitsch Ichida". The mother cannot hear the name Ida anymore and twists the animal’s neck. So it dies, and the child is quite sad. Even the taxidermist cannot cheer her up. He stuffs the Vogerl, so it seems to still be alive, almost like it was before. The mother tries to comfort her: "Happiness is fleeting, like a bird on the wing. We've been lucky enough." But this happiness does not make somebody happy—because Ida was in the body of the bird. Where is hope now? Or will only the mother of the bird remain, as the "Queen of the Bio-Power"?
Sophie Reyer approaches hopelessness from a perspective of absurdity. If the future seems too somber, the taxidermist will help man to find his optimal existence, that is, as something mechanical. And since mechanical beings don’t feel pain, perhaps happiness can take root once again? In Reyer's plays, everything has a life of its own. And while mankind hardens himself more and more, the puppets emancipate themselves from what is said and the birds from what is made. Sophie Reyer uses this surreal world in an oblique and unrestricted way. Language and words give a musical rhythm to the play, which, freed from small-family realism, is an extremely whimsical search for the meaningfulness of human existence.
Das Stück entstand im Rahmen von stück/für/stück 2010 am Schauspielhaus Wien
2 D, 1 H, 1 Kind, 2 Figuren, Chor der Präparatoren
frei zur UA