Kalldewey, Farce

Lynn and Hans are trying to say good bye to each other, but are unable to let go. Then the elegy explodes, first only in words, but soon in an orgy of violence, where kisses turn to bites: Lynn has hired two lesbians, who help her tear her husband to pieces which they stuff into the washing machine, Again a sudden change of scenery: they are all back on stage, safe and sound. They seem to have formed some kind of therapeutic community, and are celebrating Lynn's birthday. In addition to Hans, a second man appears, unknown and uninvited. He says his name is Kalldewey, utters a few obscenities and otherwise remains silent. At first the others are bothered by him, but when he disappears as suddenly as he appeared, they all miss him very much. For a second time we find Lynn and Hans all alone until the final act which transports them into the corridor of an office building. Here the boss, who is only present through his voice, is also a therapist making them all work through their conflicts with themselves and all the world by using role-play without much assistance.... Strauss' persiflage on the western bourgeoisie and its desire to heal everything won 1982 the Muehlheim Drama Award. "Kalldewey, Farce depicts the broken state of marital and non-marital relationships, the charlatanism aspects of routinely conducted group-and other therapy, the prop-like quality of a language pretending to be antibourgeois. At the same time, Kalldewey, Farce makes a contribution to contemporary dramaturgy. At every moment, the play avows itself... to be nothing but theater. (from the statement of the award jury)