The frog cunt leather factory

from Wikipedia, the free encyclopedia

The Froschfotzenlederfabrik is the title of a text work by the German writer Oliver Kluck , which premiered as a play at the Vienna Burgtheater in December 2011. "Die Froschfotzenlederfabrik" was set up as a radio play by the SWR . Froschfotzenleder is the term for the imitation leather that was once very popular in the GDR. In the play, the factory produces bomber jackets worn by unemployed relatives in the east. Froschfotzenleder the people in the GDR also cited the artificial leather, the seats were covered their cars. “The frog cunt serves as a loan for an inferior substitute in unexpected use. Originally intended as a representation of certain properties, it now functions as a stirrup holder for our story, as an unsuccessful allegory of a hapless life. "(Oliver Kluck)

action

The play is about a factory that profitably produces special clothing for neo-Nazis and whose owners are not in the least ashamed of it. His daughter is pursuing a career as a porn actress while her sister is waiting to finally take over the inheritance. The mother vegetates in a lousy hospital, where a disillusioned doctor falls in love with her porn daughter.

The Froschfotzenlederfabrik is set against the backdrop of a fading GDR past in the East German lowlands. A young doctor from the city visits his East German relatives. For him they are “inhabitants of the plain”; they mock him as "studiosus" with a flashy car. He's invited to his neo-Nazi cousin's wedding. The daughter places her wealthy mother in a municipal hospital, even though she wants to go to a private hospital. The hospital doctor ("on call for life") takes the mother in even though there are no more beds. Doctor and daughter get closer. The daughter tells of her childhood: Before the father left his family, he ran a textile factory that made clothes for neo-fascists. The daughter was teased about it at school and was an outsider. As a teenager, sexually harassed by her grandfather, who was also an industrialist, she broke away from her parents' home and earned her living as a porn actress. Work became the most important part of her life. Together with the young doctor, the daughter goes into the now uninhabited house of her mother, burns memorabilia and throws furniture out of the windows. Her sister comes and since the two of them have never liked each other, they also get into an argument at this meeting. The daughter is accommodating strangers in the mother's house, "goats in the garage, open fire in the garden and children with beards / also little headscarf girls," reports the mother's sister in the hospital.
The description of the decline of a family quickly expands into a broad social panorama, against the background of which bourgeois complacency and the hypocrisy of debates about political correctness or unconditional basic income are exposed.

Individual evidence

  1. ↑ Hartmut Krug: "Body-intensively recorded foam bathtub" , Deutschlandfunk, December 22, 2011
  2. ↑ Bernhard Doppler: "Inner monologue full of obsessions" , Deutschlandradio Kultur, December 21, 2011
  3. ↑ Uwe Mattheis: "Porno, Nazis and TV Ballet" , taz.die tageszeitung, December 22, 2011
  4. ↑ a b Oliver Kluck: “I'd rather listen to the dictators!” , In an interview with Barbara Petsch, Die Presse (online), December 16, 2011, print edition on December 17, 2011
  5. ↑ SWR2 radio play studio broadcast from December 16, 2011, SWR2
  6. ↑ Margarete Affenzeller: "Leather fashion for the youth of the minds" , DER STANDARD online December 22, 2011, print edition December 23, 2011
  7. ↑ Thomas Askan Vierich: "Working in a broken system" , nachtkritik.de, December 21, 2011

Web links