For slaughter of all kinds, such an artist's studio is quite well suited. At least, when it comes to furnishings – if it's about hosting the host in Martin Crimps, "Sleeping Men", performed in the Vienna Schauspielhaus under the leadership of the host, Tomas Schweigen: The bottom of this leafy ceiling is covered with plastic wrap, the windows are painted white , you are sitting on boxes, and the few furniture is upgraded by some bloodspatters when it comes to living the highest.
So from the beginning it begins that alcohol and color will not remain the only liquids flowing in this chamber game. The British dramatist Crimp was inspired by Edward Albees "Who's Afraid of Virginia Woolf?" – The constellation is the same, a frustrated college couple gets a senate visit from a younger couple and uses this for deep mutual humiliation. The "bitter energy", the crimp that exists in the template, but then "on Maria Lassnig's pictures bounce", as the program explains. "Sleeping men" is the name of a painting of her; Defenseless, but happy, the naked men are lying on the bare ground, as if they are best able to endure the apparently uncomfortable situation due to their physical proximity.
Then the cucumber is chopped up
Passive, handsome men who find each other – and stabbing dominant women, as their champion is embarrasing – it's also in play, the four episodes of Hamburg Schauspielhaus, where the premiere took place, was written on the body. Here, western actionism is added to the whole. Julia (Vera von Gunten) is involved as an art historian, with her husband Paul (Sebastian Schindegger), she is linked to childless sadness. Her new co-worker, Josefine (Alina Schaller) and her self-serving friend Tilman (Anton Widauer), at least, take drugs and have sex that they do not remember later.
For the psychological exploration of conflicts, it is not here, but a strict structure is lacking, but the figures use every opportunity to put together with all sorts of subjects, to insult or destroy elsewhere, to chop cucumbers, chew up food, to spit out and stumble again, to stumble and oppress – in short: to establish proximity to violence and to make the unclean life of "art" more interesting. This results in some grotesque-comic scenes and absurd laps, but above all a scene, which obviously wants something more than the maximum Patzerei. It makes them consistent.
("Die Presse", utgåva, 13.11.2018)