Der eingebildete Kranke

In the organizer's words:

1 hour 30 minutes - No intermission
THE CRAZY ONE is Molière's last and most famous play. It was first performed in 1673, with Molière himself on stage in the title role. The play describes the relationship between a self-pitying hypochondriac and his money-grubbing doctors as a mutually beneficial symbiosis. The parasitic medicine is paid dearly for its charlatanry and breeds new suffering with ignorance, while the patient's power over his environment grows with the extent of the imagined illness. Molière dedicates the play to the Sun King, who is in fact cruelly treated to death by an army of so-called healers, attacks as Argan in the play itself the comedian Molière, whom he wishes the revenge of the doctors on, and dies - as if a higher authority had written this punch line - during the fourth performance on stage from a fall of blood.
THE INCOMPLETE CRAZY is Molière's last and most famous play. It was first performed in 1673, with Molière himself on stage in the title role. The play describes the relationship between a self-pitying hypochondriac and his money-grubbing doctors as a mutually beneficial symbiosis. The parasitic medicine makes itself pay dearly for its charlatanry and breeds new suffering with ignorance, while the patient's power over his environment grows with the extent of the imagined illness. Molière dedicates the play to the Sun King, who is in fact cruelly treated to death by an army of so-called healers, attacks as Argan in the play itself the comedian Molière, whom he wishes the revenge of the doctors on, and dies - as if a higher authority had written this punch line - of a hemorrhage on stage during the fourth performance. In their rewriting, Barbara Sommer and Plinio Bachmann update the play into a spinning top of hypersensitivity, whose centrifugal forces drive those affected, those treating, and the unteachable off center and radicalize their positions. Only those who portray themselves as injured are still allowed to have their say. Victim rhetoric serves to expand power - whereby intrigue as such naturally remains timeless. Press reviews "This evening of rampant wordplay and infectious playfulness is conservative therapy in the best sense." Frankfurter Allgemeine Zeitung "The good hour and a half is certainly funny." Kölner Stadt-Anzeiger "One could understand this cabaret-like satire as a backlash against woke German contemporary theater with its high ethical standards and, in places, precarious audience ratings, but the authors have prevented that(...) It's laughed at either way." Süddeutsche Zeitung This content has been machine translated.