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Push Up (NHB Modern Plays)
Roland Schimmelpfennig
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eBook - ePub
Push Up (NHB Modern Plays)
Roland Schimmelpfennig
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A savage satire on the rapacious nature of office lives and lusts - the British debut from a writer whose work has been seen in prestigious theatres all over Germany.
Everyone wants to get to the executive suite. Everyone wants the Delhi job. Everyone wants sex, everyone wants love. So, they push for it.
This version premiered at the Royal Court Theatre, London, in 2002.
'an attack on corporate life enacted in a sequence of cunning dialogues... formally elegant and crisply expressed' - Observer
'an arresting piece... makes one hope that the Royal Court will import more of Schimmelpfennig's work' - Independent
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Thema
LiteratureThema
European DramaA.
HEINRICH. I work for a pretty big corporation. I sit on the ground floor, behind the glass pane in the lobby. Everyone that works in the building walks past me. The building is big, really big, sixteen floors, and next to me there are monitors transmitting pictures from the security cameras.
In the control room we work shifts, usually in twos. On the night shift we also do the round through the building. On the night round we check every room, we unlock and lock every single room. That takes time. The building is extensive, there is everything you would imagine: the executive floor, the meeting rooms that still smell of cigarettes at night, the sectors of the different departments and sub-departments, the administration offices, developÂment, the creative rooms, the labs and the huge computer control room in the basement. Thatâs where they save data from all over the world: data from the branches in the US, South Africa, India.
Next to the monitors for the security cameras is my own little TV. Itâs not really allowed but no one says anything. Not even Kramer, who lives with the woman who more or less owns the corporation. Kramer basically runs this place. Iâm not really sure what she does. But when she walks past, I always turn it off.
Sometimes they even show our companyâs ad â in our ad a man in a park carries a woman over a huge puddle. Then thereâs a slogan and our logo.
Pause.
Itâs strange. Itâs like itâs nicked from somewhere. In any case the adâs been on for over a year and itâs time for a new ad: maybe something completely different â something that has more to do with me â or with our products. I mean â I donât get the connection.
We usually work shifts in twos. Iâm often on duty with Maria. Maria sees the ad very differently. She likes the ad. But Iâd like something with more action. I like action films. Or thrillers.
Maria and I talk a lot about the things we watch on TV while weâre doing our shift. About the couples in the films for example. I mean: in real life itâs just different. People donât just get together. Itâs rare that two people meet and then bang, they fall in love. It hardly ever happens. Or that a man in a park carries a woman over a huge puddle like in our ad. When does that happen? âRight? Right?â I say and turn to Maria.âI mean just look at you and me. I donât carry you across any puddles either.â And then she laughs.
ANGELIKA. Iâm glad youâre here.
Short pause.
Iâm pleased. I was very curious how you â Iâm sorry you had to wait those ten minutes. Iâm really very pleased.
SABINE. You donât have to reassure me. Iâm not nervous.
ANGELIKA. Thereâs no reason to be nervous.
SABINE. Yes, there is. But Iâm not.
ANGELIKA. No? I am, a little.
SABINE. You?
ANGELIKA. Yes, certainly.
Pause.
SABINE. Spare me.
ANGELIKA. What?
SABINE. These pleasantries. We donât need to make small talk here.
ANGELIKA. Is that what Iâm doing?
SABINE. We both know thereâs a conflict here.
ANGELIKA. Maybe we assess the â situation differently.
SABINE. You say youâre pleased Iâm here.
ANGELIKA. Yes â
SABINE. You say youâre sorry I had to wait outside in the corridor with your secretary. But none of thatâs true. Youâre not sorry. To make someone wait for more than five minutes is a subliminal act of aggression. You know that very well.
Pause.
ANGELIKA. Ok. I hope my secretary explained why you had to wait. I still had to â
SABINE. Youâre trying to establish a certain climate of conversation here. Youâre trying to establish an atmosphere of friendliness, helpfulness and warmth which is completely inappropriate. You say youâre nervous although thatâs probably not true. Youâre only doing that to relax the situation.
But the situation canât be relaxed. No matter how you âassess the situationâ. There are obviously two different interests at stake here, and they donât meet.
ANGELIKA. Just a moment. Hang on.
SABINE. No â
ANGELIKA. Yes â
SABINE. Itâs completely â
ANGELIKA. Stop.
SABINE. So far the whole course of this conversation â
ANGELIKA. Stop.
SABINE stands up if she was sitting. No â
ANGELIKA. Sabine!
Short pause.
Can we begin to talk now?
Short pause.
SABINE. As you like. Go on.
1.2.
ANGELIKA. To throw the coffee in her face was a gaffe. A lapse in control. But she didnât deserve any better. That p...