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The gesture of "Manifest 59 / FLÄCHENMENSCH DIE FESTUNG WELT" is drastic, suggestive, vast massive, nightmarish scenes, scenes that slip away. A drastic acoustic haptic. FALKNER is interested in creating emotional spaces instead of physical spaces, creating emotional bodies instead of realistic bodies. Sounds as triggers, archaic-funky-incredible. FALKNER's approach: unmasking political and social realities with imaginative means, a fictional state description of the fortress world. Ines condemns the bleeding out of accountability, an outside that celebrates a hollow commemoration, but in the process behaves in an increasingly martial manner.
Ines lives with a deer. "The fellow human being no longer exists. Abolished! Bulldozed. But an animal is allowed." More and more injured animals are put in front of Ines' door. What should she do with them? "That one looks like a human!" Who is knocking on Ines' door, constantly putting something in front of the door? Is this something real, a reality? Or is it all happening in Ines' head, inherent in Ines' grief?
A while ago, there was a collective suicide of young people, including Ines' son Georg. The people outside have been silent ever since, not speaking about what happened. Ines complains that the world has divided itself into different tracks and obviously means degrees of remembering, of mourning, of taking responsibility. Ines has decided to isolate herself in this room, to make her separation from the outside absolute, to wait in here to see if Georg might come back. Ines shares this room with a mirror. Increasingly there is a confrontation. The mirror as an intruder in Ines' zone/space is her accusation from the beginning. The mirror as a predatory being. But also the mirror as a knowing object, the attempt to make the mirror speak. In any case, the confrontation with one's own memory that has been condensed into a physical form. The question of how such indelible grief and unbearable loss can be endured (or not); what kind of evasions, substitute actions and obsessions this produces; and: what kind of images and sounds can trigger, depict and incite grief in us, is what the scenes of this radio play describe. (Mirror) images that one does not see but can hear.
Tomorrow is the anniversary and the mirror, and the scenery, oppress Ines more and more during these hours. Ines resists the mirror (image) for a long, long time and with all means and attacks, up to the attempt to erase her own image. Pressed by the mirror and the noises, the scenery and space become increasingly nightmarish. It becomes clear to Ines that she must face up to the fact that there is no escape. At the end, Ines' solution will aim for the total!
With Ines, FALKNER has a character at its service whose drasticness and ambivalence are absolutely charming and who insists on not being a Flächenmensch! Despite the theme, "Manifest 59 / FLÄCHENMENSCH FLÄCHENMENSCH DIE FESTUNG WELT" glitters and sparkles in an audible and quite incredible way.
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