GESPRÄCH WEGEN DER KÜRBISSE
by Jakob Nolte
Directed by Marco Štorman
Premiere November 16, 2017
People at the café, conversations about everyday life: holiday memories, relationships, capital crimes, ray guns and Mossad.
And pumpkins, of course! Jakob Nolte is exploiting all of this for a shrill comedy in which fake news diffuse right into the
Who isn’t captivated by the dramas or moments of tristesse that are happening at the next tables?
Who doesn’t turn into a voyeur at the café? Who doesn’t enjoy the theatrical miniatures that take place there in unlimited
numbers everyday? What is actually happening at the next table, is it already invisible theatre or still everyday life and
what is actually lurking behind this harmless banter?
Jakob Nolte, one of the most peculiar humourists of
the young German language literature, creates his intimate dialogue between two women (awarded in 2016 as best German language
play during Autorentheatertage and later staged at Deutsches Theater Berlin) using the café as bizarre biotope. The
experimental arrangment seems to be simple: Two old friends meet for coffee and talk. Apparently every day life topics is
all that Nolte needs for a sparkling comedy. Yet one experiences in these conversations a seeming everyday life on the verge
of madness where reality and fiction, fake and truth are difficult to distinguish. Obviously Anna Krachgarten and Elisabeth
Mishima haven’t seen each other for a while, first one sniffs at each other, hides behind harmless smalltalk until the conversation
gets going. Because one actually knows each other rather well, knows about humour and sore spots. Quickly they both take up
old patterns of relationships. They know how to provoke their counterpart. With great precision they shoot verbal arrows under
the surface of the friendly conversation. After a far-reaching experience that forced Anna to take time-out, she has just
returned from the holiday. She was looking for recovery in the Aegean, she wanted to leave her cares behind in the deck chair
on the beach and vent her thoughts. But the holiday took a completely different course. Back home, the unconscious mixes with
irritating images in her own mind and the memory threatens to be disguised as fictional construction. Or maybe not? And actually
it was the Adriatic Sea and not the Aegean where the pumpkins made such strange noises?
From both sides of
the coffee table the most conflict-laden topics are addressed with more and more delight. What is Elisabeth Msihima working
on actually? Is it serious research or is the physician developing a futuristic weapon in reality?
Nolte, born in Lower Saxony in 1988, started his career as part of the wrting duo Nolte Decar that won several important awards
for its absurd playful plays. Recently his novel „Schreckliche Gewalten“ was nominated for Deutsche Buchpreis in 2017. Nolte
was celebrated by the weekly magazine DIE ZEIT as „highly talented“, his writing was „seminar-like, smart-ass-like, coy, pretentious,
blood thirsty, morbid, cruel, strangely romantic and above all deadly funny“. Since 2013 he experiments in a humourous, almost
satirical way, with the genre of the classical conversation play. His „Gespräch wegen der Kürbisse“ subverts with a wink all
conventions of the usual suspense dramaturgy and paints the portrait of a friendship at the verge of collapse with a wonderfully
bizarre humour. In times when the lines between truth and fiction seem to be more porous than ever, Nolte’s curious piece
is the play of the hour.
Marco Štorman, born in Slovenia in 1980, grew up in Graz and Hamburg, and has been
directing at Schauspielhaus with great success since 2015, et. al. the world premiere of „Kudlich“ by Thomas Köck and the
German language premiere of Chris Thorpe’s „Möglicherweise gab es einen Zwischenfall“. Since 2009 he has been working as freelance
director and was invited to „radikal jung“, a festival for young directors in Munich, with his production of Elfriede Jelinek’s
„Winterreise“from Stadttheater Klagenfurt. Since then he has directed at Thalia Theater Hamburg, Staatsschauspiel Dresden,
Theater Bremen, Staatsoper Stuttgart as well as at „Münchener Biennale für neues Musiktheater“. Since 2016 he has been associate
director for music theatre at Theater Luzern where he directed the opera „No Future Forver“ (based on texts by Jakob Nolte)
Pressestimmen „Lauschangriff auf ein seltsames Paar. (…) Wenn Sophia Löffler und
Vassilissa Reznikoff im Café einander belügen und gegenseitig Wunden bohren, muss man oft laut auflachen. Ihr bizarr verschobener
Dialog kreist um weltverbesserische Kanonen, Verschwörungstheorien, Kürbisse natürlich und darum, wann der Kaffee kommt.“
Die von Marco Storman inszenierte Geschichte ist eine Etüde. Die Blümchen
am Tisch beginnen zwischen Sticheleien und Beichten von Unzufriedenheit mit dem eigenen Leben während 50 Minuten heftig zu
zittern. (…) Bravo.“ Der Standard