High (and you know on what)

“It is wrongly assumed that when there are two people on the stage, they dialogue with each other, and when there is one person only, she thinks. That’s a complete misrepresentation of human activity.  It needs two to do the thinking, and speaking should take place when you’re on your own – at least that’s what you should aim for. So, seeing one person on a stage you must actually assume that she will speak, and when two persons appear, that they will think. The suggestion, however, is usually the reverse. Yet this cannot be described in objective terms. Only in moral terms. Stuff pretends to be objective, but is meant to be moral.  But I can only speak about what I see and hear, and I don’t speak about what I think. Because it needs two or three or more to do the thinking. One does know what one worker is, one does not know, however, what two workers are. I’m saying this because I’ve been the subject of over-zealous levelling by propagandists from the best backgrounds, who think when they’re on their own. As a matter of fact, that’s only feeling. I feel good when I’m on my own. For them, that’s “thinking”. Objective is moral, and thinking is feeling.” René Pollesch

Playwright and director René Pollesch makes comedies combining text-based wit, critical theory and comic effect. Variously using so-called clips, role reversals and the support of an all-female spoken choir, the ensemble interrogates phenomena from day-to-day life, love and work in the age of capitalism. This is the seventh collaboration of Pollesch with the ensemble of the Schauspielhaus Zurich, more recent ones including “Love/No Love” (2015) and “Setting the stage for Mick Levčik!” (2016).