Susanne cares for her dying mother Waltraut. They live together in Quedlinburg.
Shortly before Waltraut's expected death, her younger sister Inga, who has been living in the West for a long time, appears. She wants to see her mother one last time.
The two sisters have very different lives, views and values. Susanne, who cared for her mother for years, sees herself as a victim of the fall of communism and the political system. The younger sister has "arrived" in the West as a successful academic. In a painful process of rapprochement, they discover how much the behavioral patterns of their grandmother and mother, shaped by the war and post-war period, have influenced them. Through this, they slowly find access to each other again.
"Wölfinnen" focuses in particular on the transfer of traumas suffered between the generations to the surface. What Susanne and Inga don't know runs like a red thread through the play. Their mother Waltraut is the child of a rape of her mother by a soldier. Accompanied by a lifelong, more or less open rejection by her mother's German husband, who only returned from Russian captivity years later, Waltraut's story was actively "hushed up" in the family.
This project sheds light on what this refusal to come to terms and the associated refusal to name the crimes against the women as such and to acknowledge the suffering they endured meant for the women concerned and their descendants.
The Kammerspiel is a first-time collaboration between the Bremen actresses Irene Kleinschmidt from the ensemble of the Bremer Theater, Franziska Mencz, a freelance actress from Bremen, and the Bremen theater producer and author Hans König.
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