Salome
Berliner Morgenpost
12/2018
Ein Zerrspiel der Ich-Bezogenheit der Gesellschaft
Berliner Zeitung
12/2018
Das Bonbon
bezirzt.de
01/2019
Salome im Maxim Gorki Theater
Das Kulturblog
12/2018
Salome
Deutschlandfunk
12/2018
Salome in Cross-Gender-Besetzung
Deutschlandfunk
12/2018
Weniger Erotik, mehr Menschenhass
FAZ
12/2018
Der Prophet trägt Strumpfhosen
Kultura-extra
12/2018
Banale Travestie
MOZ
12/2018
Kopflos durch die Nacht
Nachtkritik.de
12/2018
Fucking Identity Politics
Nmz.de
12/2018
Wenn Salome zu Schneewittchen wird
Siegessäule
12/2018
Tanz der Dekadenz
Stagescreen.com
12/2018
Bonbons der Selbstabschaffung
Süddeutsche Zeitung
12/2018
Bescheidenheit, was ist das?
Tagesspiegel
12/2018
Auf dem Silbertablett
In Palestine shortly before the invention of Christianity, Herod Antipas rules as governor of the Roman occupying power. His influence is waning and he is threatened with the fate of a political lame duck - pressure from Rome, pressure from the streets, or rather from the desert, where an ever-growing crowd of fanatics is gathering around the radical Baptist John.
Herod celebrates a feast to give himself some breathing space. But his desire for Salome gives him, his court and above all Salome no peace. She prefers to stay outside the fortress. The desert holds the promise of emptiness and clarity, of clarity and purity. These thoughts take hold of Salome and later the entire court like an infection. But instead of order, fundamentalism brings ruin. Thomaspeter Goergen breaks out individual motifs from Oscar Wilde's original and thus drives the famous fin-de-siecle play into the dilemma of the present day - perversion and fundamentalism as the destructive mixture of diffuse fear and real power. Ersan Mondtag stages this escalation in a visually powerful and lustfully dark way: "The best are convinced of nothing, the worst are passionately obsessed." W. B. Yeats