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Chekhov's gun is still hanging there? Vanya pulled the trigger long ago. In "Vanya Verrückt" (Vanya Gone Crazy), an uncompromising monologue, a millennial dissects both himself and Europe in crisis mode: hopeless, fractured, overwhelmed. From a distinctly Polish perspective, Piotr Pacześniak takes a look at identity, late capitalism and the question: What does it even mean to be European today? Is there anything that is not subjective these days? Is there anything we can still agree on?
As Chekhov once so aptly remarked: if a gun appears on stage during the first act, you have to use by act three at the latest. But why wait for the third act? It already feels like the end. Vanya has lost his patience. He grabs the gun and decides to intervene. Misled by a neoliberal order that has quietly robbed him of hope, confused by an identity politics that never helped him understand it and disillusioned by the promise of a united Europe – which now appears fractured, fearful and insecure – Vanya decides to take the initiative himself.
In an uncompromising monologue, Vanya, a millennial, confronts both himself and the world around him: a world in which everything seems to be relative. In search of a single thought that he could consciously describe as objective, he begins to question what it really means to be European.
In his text, director and author Piotr Pacześniak reflects on his generation's situation – from an explicitly Polish perspective and in the context of geopolitical, economic and identity-related change. He is interested in the human being as an individual within family, social and historical dependencies and the question of how late capitalism shapes our relationships to family, nation, Europe and other people.
- Piotr Pacześniak Regie
- Daniel Grünauer Dramaturgie