SPUREN DER VERIRRTEN (FOOTSTEPS OF THE LOST)
Recommended for ages: 14 and over
The Austrian dramatist presents a «small migration» in his 2006 play in which he observes how times have changed. In his early twenties he supplied the theatre of the 1960s with plays that questioned theatre itself and its audience’s expectations by insulting the audience or not speaking at all. «The Hour We Knew Nothing of Each Other», in which he has recorded a cycle of unspoken encounters in a public square, has become a modern classic. In «Footsteps of the Lost» he appears to take another look at this square ten years later. Handke diagnoses signs of dissolution: the people are strangers, they argue and part – the peaceful surface is deceptive, for some time a war has been raging inside which then becomes visible during the course of the play. This time passers-by start to speak. A few scraps of conversation grow into scenes and some of those who are passing can be recognized: as an actor or as one of the audience? Has the end of time come? Or is this simply the beginning of a new season on life’s stage?
Schorsch Kamerun, theatre-maker, writer and a musician whose accomplishments include being singer with the legendary «Goldenen Zitronen», takes Handke’s theatre of the world literally and turns the Theaterplatz and Theater Basel’s foyer into a stage. Within this cosmos which he has scored and populated with numerous performers the public is invited to mingle among them and start looking for clues prompted by Schorsch Kamerun’s soundtrack.
Following appearances in the series «Paradise Lost» and «Club Red October» in previous seasons and numerous concerts at the Hirscheneck and the Kaserne, Kamerun now presents his first production in Basel.
Schorsch Kamerun: «I believe the stressed-out people who ‹don’twannaknowabouteachother› and are ‹lost› rushed past each other in an age that was about needing to fight for individuality. In that struggle there was always a mutual friction. We are now experiencing a hyper- and multi-individualism expressed through commodities that is turning into a permanent and isolating exercise in self-presentation whose reversed face is no less grotesque than before and really funny to watch.»