From the bequest of René Pollesch, “Der Schnittchenkauf” comes to the board of directors of the Berliner Volksbühne. The surprising thing is that it seems like a “real Pollesch”: you can feel the heartbeat of the theater, which continues even when your heart fails.
rené Pollesch continues to frequent the Volksbühne in Rosa-Luxemburg-Platz. Only a few weeks ago his opera “I don’t know what a place is, I only know its price (studi Manzini)” was premiered in Berlin, already performed in Zurich, at which King Kong greeted much above. Now there is the world premiere of “Der Schnittchenkauf” from the estate of the suddenly deceased author and director. Staged by the ensemble itself, no director appears in the program. Will it be possible to bridge the gap? Or better yet: playing with the gap?
The surprising thing is that “Der Schnittchenkauf” seems like a “real pollesch”. Or is it not that surprising? René Pollesch, who has always considered himself the first collaborator of the collectiveS theater brigade, has always underlined how much he values his actors as producers of texts. He did not appreciate his originality as an author. He wanted to be like the stenographer of the speech and not give rise to any suspicion of genius, even if, for all his modesty, he had genius traits. Even as a manager, Pollesch did not impose rigid guidelines, but rather followed his players.
With Martin Wuttke,Kathrin Angerer,Milan Peschel,Franz Beil and Rosa Lembeck,proven Pollesch veterans are on stage in “Der Schnittchenkauf”. And question yourself, as frequently enough happens with Pollesch. What does it mean: to be on stage as an actor? What if, according to sociologist erving Goffman, we all acted in theater on the countless stages of everyday life? The scenic device, as theater scholars trained in Michel Foucault would say, literally enters the scene: the fourth wall is a sheet of plexiglas on which you can bump your nose.
As in the boulevard theater, there is a lot of door noise, but simultaneously occurring the great questions of life resonate: “You know, our existence is not between two doors, the entrance and the exit. Is this how we see our life?”. Further question: what is this, life and theatre? Both, it truly seems, have to do with illusions. In the theater, even with the illusion that someone is interested in what happens. But what happens if that viewer no longer exists? This is neither the end of the world nor of the theater, but just the end of theater as we knew it.
Through the educational works of Bertolt Brecht, Pollesch discovers the idea of a theater without an audience and without rehearsals. where the young Brecht in the 1920s had in mind the tightly organized workers’ movement as the subject-object of such a theater of the future, Pollesch took the idea and transferred it into the late Brecht’s idea of ”small, agile troops” that came it should function as a “laboratory of social imagination” (Heiner Müller). Pollesch not only takes up Brecht, but also ironically: the model for “The Purchase of the Schnitzel” is Brecht’s “The Purchase of Brass”.
Pollesch sees playing together as a model of cooperation, the secret engine of evolution, as it is indeed said with reference to Charles Darwin and Donna Haraway. It’s about getting infected, getting infected (you can see here that “The Sandwich Purchase” was written almost ten years before the viral panic of 2020ff). A text that is not a “final opinion”, but a divine text that creates community. and the audience continues to play, even if the person who wrote the lyrics is already dead. It is his legacy that will be invoked this evening.
So what are slices? It is because of sandwiches, slices of bread spread with butter and sprinkled with fresh chives, that people go to the theatre, as we say at the beginning. Accept, as the story continues, there are no cuts, just theater. A parable about how in the theater you don’t get what you want, but at the same time you want what you can’t get.A paradoxical enjoyment, like love.So what are you looking for in theatre? The question goes to the public. There are no cuts, but at least there is an description of why it has to be this way.
In just under two hours “Der Schnittchenabend” revolves around everything that Pollesch wanted to discover as the essence of theatre. the move away from the assertion of metaphysical meaning and the turn towards the social bond of aesthetics between bodies, a pleasant speaking without the pressure of opinion and the pressure of being right.You don’t have to understand everything, as Angerer says at one point: “The other day you muttered such incomprehensible things, I felt completely at home. Pollesch’s theater is this search for the feeling of feeling at home.”
It’s just that it’s challenging to feel at home in Berlin right now, not only because of the real estate crisis, but also because of the cuts that are threatening, especially to culture. There are fears that the Berlin Senate might let the Volksbühne hit the wall financially and then liquidate it. While in almost all major theaters the cuts have now been reduced to an unofficial cut list, the Volksbühne continues to be in full force. And the interim director has now cancelled, also due to cuts.
In the Volksbühne it burns brightly, as in Leonard Neumann’s scenography: pieces of fabric flicker like flames in the light and tidy wooden structure with Feng Shui vibes. In the background it says big: “Black Friday” and “Gift”. Does this perhaps allude to the sell-out of Berlin culture: must everything be cheaper if things are to continue? Is it already toxic or another gift? The Volksbühne is on the brink of collapse, they are currently consolidating. Next year Christoph Marthaler will celebrate his return, and Florentina Holzinger will also create a new piece.
As much as “The Sandwich Purchase” gets into the basics, the evening is just as entertaining. Tabea Braun’s costumes are a real eye-catcher, the actors demonstrate their talent for comedy and the audience has fun. And there’s some painful work at the end too. “My language is already dying out,” Angerer says. His speech stops. Everything is so transitory, so fleeting: the bodies, the theater and even the bonds it creates. But there is still hope: the last sentence is about the heartbeat of the theater, which continues even when the heart fails.
Interview Between time.News Editor and Theater Expert
Time.News Editor: welcome, and thank you for joining us today. We’re here to discuss the recent world premiere of René pollesch’s “Der schnittchenkauf” at the Berliner volksbühne. How would you describe the significance of this play in the context of Pollesch’s career?
Theater Expert: Thank you for having me. “Der Schnittchenkauf” is particularly poignant as it comes from the estate of Pollesch, a celebrated figure in contemporary theater who has unfortunately passed away. This piece feels quintessentially Pollesch; it embodies his unique style that blurs the boundaries between life and performance,a hallmark of his work.
Time.News Editor: Speaking of boundaries, the article hints at the concept of “playing with the gap.” Can you elaborate on how Pollesch navigates this idea in his work?
Theater Expert: Certainly! Pollesch has always embraced the collaborative nature of collective theater. he perceives his actors as co-creators rather than mere performers. This approach invites audiences to question what it means to be “on stage.” The notion of the fourth wall, a fixed barrier in traditional theater, is redefined here—it’s a plexiglass sheet rather of a wall, encouraging interaction and contemplation. the gap between actor and audience shrinks, and the distinction between performance and reality becomes fluid.
Time.News Editor: That’s a fascinating viewpoint. In the context of “Der Schnittchenkauf”, how do you see the contributions of the cast, particularly the seasoned veterans of Pollesch’s past productions?
Theater Expert: The cast, including familiar faces like Martin Wuttke and Kathrin Angerer, brings a wealth of experience that enriches the performance.Their familiarity with Pollesch’s ethos allows them to engage deeply with the text and its themes. It becomes a dialog—not just among the actors, but also with the audience regarding the nature of existence. The play raises profound questions about our perception of life and theater, echoing Erving Goffman’s sociological insights about role-playing in everyday life.
time.News Editor: The article mentions how the play touches on the illusion of theater and life. Can you delve into that idea?
Theater Expert: Absolutely. The illusion presented in theater invites viewers to reflect on their own lives and the roles they play. Pollesch’s exploration suggests that life isn’t merely traversed between entrances and exits—it’s complex and layered. When the audience isn’t present, what remains? The notion challenges the very essence of theater. It becomes a thought experiment on existence and the impact of an audience’s absence. That’s a stark departure from traditional theater’s reliance on viewer engagement.
Time.News Editor: It seems Pollesch also draws inspiration from Bertolt Brecht’s ideas, particularly the notion of a theater without rehearsals or audiences. How does that fit into his vision?
Theater Expert: Brecht’s influence is profound in this piece. He envisioned a theater that was a “laboratory of social imagination,” which Pollesch adopts and adapts ironically. By suggesting a theater devoid of audiences, Pollesch prompts us to reimagine the purpose of theater itself. Rather than a mere spectacle, it becomes a platform for experimentation and reflection, aligning with Brecht’s call for social engagement through art.
Time.News Editor: In closing, what do you hope audiences take away from “Der Schnittchenkauf”?
Theater expert: I hope audiences leave with a sense of introspection—pondering their own roles in the theater of life.Pollesch’s work compels us to confront our perceptions of performance, existence, and the connections we forge with one another. It’s an invitation to engage with both the tension and beauty of life, even in the absence of a traditional audience.
Time.News Editor: Thank you for this enlightening discussion! It sounds like “Der Schnittchenkauf” is set to be a thought-provoking addition to pollesch’s legacy. we look forward to seeing how audiences respond.