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Pollesch

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Petrochemical Collective Combine Schwedt / No messing about in the control centre!

P: There are 5 people sitting in the control centre nursing a cup of coffee  in front of flashing control lights, and it seems as if they’d take a nonstop break. But if they indeed took a break while the crucial control light went on, we certainly would have to count the costs. Control lights are there to be monitored closely, there’s no getting around it. And that’s why drinking coffee does not necessarily mean taking time out. It may look like it, but actually it’s the complete opposite.

F: Another timeout of sorts were these old Eastern German garages and their age-old lease contracts that regularly messed up new plans for building development. People were unable to realise construction projects because the lease lasted forever. A pause for contractors, if you like. They just couldn’t believe that people preferred taking time out in their tiny garages rather than getting paid off! Getting paid off is not equal to taking a break, nor is having a cup of coffee. So, what looks like a pause is not necessarily a pause. In East Germany, these garages used to sit everywhere, like little pressed pause buttons.

P: We once staged a piece here, with the title „Garage“. By some Russian guy, it was. The play was about a bunch of people who owned these garages. On stage, they just hung around chatting. And the setting was a maze of pipes, because the play was set in some boiler room or something. Pipes everywhere, made of cardboard, impossible to have any liquid run through them, of course, due to their cardboard nature. Our task was to put them up on stage. And you (points to F) were part of the troupe… Had to just sit around and pretend he was sleeping.

M: Schwedt in June 1968. I was commissioned by Benno Besson, Heiner Müller, Gerhard Winterlich and all the other participants in this endeavour to write down the whole story in connection with the Midsummer Night’s Dream, every detail of it, and hide nothing except the scene of action, because the place still contains many hidden treasures. That’s why in 2022 I’ve taken up the pen to return to Schwedt in my mind’s eye, into the time when my father was a worker-actor there. That’s what it was called in those days, worker-actor. I was seven years old then, mind you, now I’m at a more mature age. But I never forgot the day when…

P: You are bringing up Schwedt! You told us there were so many treasures lying dormant there, and you promised to keep the location of this island a secret. And now you’ve mentioned the name Schwedt!

Artists/Collaborators: Franz Beil, Tabea Braun, Anna Brotankova, Klaus Dobbrick, Leonie Hahn, Milan Peschel, René Pollesch (Text & Regie), Anna Viebrock, Martin Wuttke, Johannes Zotz, René Pollesch (Autor/in), Franz Beil (mit), Milan Peschel (mit), Martin Wuttke (mit), René Pollesch (Text & Regie), Anna Viebrock (Bühne), Tabea Braun (Kostüme), Johannes Zotz (Licht), Klaus Dobbrick (Ton), Anna Brotankova (Mitarbeit Bühne), Leonie Hahn (Dramaturgie)

Next date:

• Date Sunday, 20/October/2024 19:30 bis 21:20
• Venue Volksbühne am Rosa-Luxemburg-Platz - Großes Haus
• Address Rosa-Luxemburg-Platz, 10178 Berlin-Mitte