dasvinzenz zu Gast im Kopfbau: Koralle Meier von Martin Sperr (Münchner Erstaufführung)

Director: Eos Schopohl

with: Sabine Zeininger, Hubert Bail, Joachim Bauer, Katharina von Harsdorf, Sebastian Kalhammer, Dennis Kharazmi, Pascale Ruppel, Robert Spitz, Ardhi Engl, Marie Nüzel

Dramaturgy: Boris Heczko

Set design: Christoph Ammer, Kathli Wohlgemuth,

Choreography: Marie Nüzel

Music: Ardhi Engl

Assistant director: Elina Fernández

Koralle Meier is a "private" who is very popular with the men (less so with the women) of a small village. Due to her age, she is planning a career change: she wants to become respectable and open a vegetable store with a snack bar. But this change, the existential change of identity for her, which would also mean her integration into middle-class society, is not granted to her. As a store owner, she would be extremely unwelcome competition for the long-established business people. She should therefore remain what she is: "the whore". Political denunciation is the most effective means of thwarting Koralle's plans. Koralle Meier wants revenge and becomes an informer herself ...

In a parable, a kind of Bavarian "Dogville", Martin Sperr's Koralle Meier shows how fascist patterns of behavior take effect in a (superficially) harmonious village community in order to put an outsider in her place and ultimately eliminate her. The characters become accustomed to using inhuman political conditions for their own selfish interests, even if this has deadly consequences. Under this pressure, the main character Koralle Meier also turns from victim to perpetrator before rebelling in the end.
"The outsiders are no better than their hunters," writes Martin Sperr. "Their attitude is determined by their exclusion from the community to which theywould like to belong.As soon as one is accepted back into the community, he hunts down the other and aligns his behavior with the norms of the group."
Nevertheless, Koralle embodies a primal vitality that ultimately allows her to find her way back to her original sense of justice and empathy.

Martin Sperr's "Koralle Meier" is sharp, garish and abysmal comedy. In times when fascist tendencies are once again becoming socially acceptable and the hunt for marginalized groups, foreigners and outsiders is commonplace, not least in language and expression, Martin Sperr's "Koralle Meier" can be retold as a dystopian, nightmarish fairy tale.
Martin Sperr shows how quickly the ideal world of the village community turns into a nightmare, "how convictions and ideologies take on their demonic, truly destructive nature precisely when they are no longer substantial due to the objective situation, and how deceptive it is to lull oneself into a sense of civilizational security in the light of what has been achieved." (Adorno: Studies on the Authoritarian Character)