Buying sandwiches

I'm actually thinking of writing “Schnitchenkauf” here. In Brecht's “Buying Brass,” the figure of the philosopher expresses certain demands on theatre, which are now being reclaimed from the theatre in the “buying of chips.” Yes, it was precisely the philosophers who asked us to reclaim the claims attributed to them by Brecht. “Buying sandwiches” is theory that works without the conflict of opinions. In fact, dialogues can easily be misunderstood. They constantly say “philosopher,” “actor,” “playwright,” “sergeant.” But we'd rather stick to Brecht's lessons. Up to here, i.e. up to this book, there have been interviews in which you could publish these things very well. Things that the evening at the theatre can't say about the practice of the participants, although in my opinion there is a lot to be read about it. For example, I think that we can see very well that the first author of our evenings is the stage designer, which means that the first text available to us is the stage design. In any case, with us, the stage designer is no longer a service provider for a template. Unfortunately, the philosopher dragged onto the stage in Bertolt Brecht's “Brass Purchase” still thinks that the director and the author have co-written the stage design. I even know directors who are the first to tell you, when the stage design in particular was praised after a premiere, that they had been involved in it. When directors kiss an actress's hand on knees after a premiere, it doesn't mean “thank you,” but: “You are my creature.” This is due to the theatre rooms, which are not only attractive, but also have endless flirting cheese hanging in the air. I recently watched a video trailer posted online by a theatre. It shows the actor during a public rehearsal. And immediately afterwards the friendly director of the evening, who hands him the microphone during a dedicated presentation, with a gesture that says, “You don't hear you so well, I look out for you, I love you.” This gesture of friendship destroys him. Perhaps that is the face of love. Many directors refer to this flirtation that is in the air and which always goes out to the detriment of the actors. The question “Did you write the lyrics for actress X or actor Y? “immediately follows the publication of our practice that the lyrics are not replayed, are created during rehearsals, only come about with the cast in the first place. It seems that you only know actors who have something to accept. One actor said in an interview that he is not a powerhouse of feelings. However, it was published: “I am a powerhouse of emotions.” An actress spoke about thinking in an interview, and was published: “She says what she thinks. “The “sandwich buy” now. Finally, a quote from the “buy brass”. The dramaturge says to the philosopher: “You haven't said a word about it when I asked you why you're coming to the theatre with us.” And from the “sandwich shop”: “But this isn't a theatre. ”

The book Der Schnitchenkauf 2011-2012 by René Pollesch, which serves as the textual basis for this production, was published on the occasion of the exhibition René Pollesch: The Dialogue is an Incomprehensible Classic, which took place from December 16, 2011 to February 4, 2012 at Galerie Buchholz. The sandwich purchase was written with the help of Franz Beil, Diedrich Diederichsen, Christine Gross, GMK, Jonathan Flachmeyer, Fabian Hinrichs, Christopher Müller, Bert Neumann, Sophie Rois, Harald Schmidt, Bernhard Schütz, Martin Wuttke. The production Der Schnitchenkauf by René Pollesch is being created...