Hans, the caretaker of a building, has gone to investigate why the water has run dry above floor eight. Fatina, the lodger, awaits her lover, Kalil, who is mysteriously trapped between floor in an elevator. Franziska, the dreamy amnesiac falls asleep each night before the sun sets and forgets her day every day. And Peter, the romantic voyeur, trespasses through unlocked doors expecting what he finds.
This was Schimmelpfennig's first play - and it kind of shows. It's intriguingly experimental, but in reading it I was trying to imagine it staged - and was left adrift. Still, intriguing situation and characters - I'm just not sure what point he was trying to make with it.
Read this out loud in a theatre workshop. The economy of dialogue hits hard. Also intriguing how seamlessly he moves in and out of dialogue, sub text and scene instructions.
I'm still not sure what I think of this play. It takes some chances in structure, though in reading it doesn't fully work (or at least it doesn't affect me that dramatically). However, I am reserving my judgement until I see it on its feet.
Tiene que ser leida o vista para poder experimentarla verdaderamente, pues el entramado es una mezcla de la fantasia con una realidad surreal, y al final no sabes cual es el mudo real y cual la fantasia.
Die (vielleicht zu) komplexe Geschichte verliert sich zwischenzeitlich, findet sich aber zu einem Abschluss, der alle Handlungsstränge zusammenbringt, wieder. Schwer zu folgen, ist es aber wert.
FÁTIMA Soy la sirvienta del jeque Al Harad Bahadba estoy en el patio de su palacio en la ciudad del Kinsh el Sar en medio del desierto. Es una noche clara, y las ramas de los naranjos arrojan sombras azules. En mis manos un cuchillo de cocina, pero ¿dónde dejé las llaves que suelo traer conmigo para las innumerables puertas de esta gran casa.
(ik heb ook nog 'Belgrado trilogie' gelezen van Sbrljanovic - wie bedenkt zo'n naam? - maar dat staat hier blijkbaar niet online) (wou dat gewoon maar even meedelen)