What is that, where does it belong? This key question posed by every cleaning lady there ever was also precedes the creation of the world. As God begins to give names to creatures and things and ascribes to each his place, order and peace gradually emerge from the chaos: The performance Ende unfolds along the lines of the biblical story of genesis. She She Pop assume the pre-described roles of God, man, Eve, the animals, the plants and the cherubim.
The stage is the paradise in which the performers experiment with bringing things to an end, cleaning up, stopping, interrupting, cut, silence, conclusion.
One of them will relieve herself of all self- images, which the reigning order to which she belongs have formed of her sex. Will her sex continue to exist at all, if she ceases to represent it? One of the performers will stifle all perspectives that present themselves, all opportunities for action in a staggering act of self-constraint and force himself into a state of vegetative abandon.
A third performer searches for the final order of all things, the perfect pattern β only to then close the doors behind herself for ever. She She Pop converge on the precipice of the end, that precious moment containing the possibility of something else: She She Pop and Max Knoth. On Sunday, the nationally celebrated theater group She She Pop invigorated Schwankhalle Bremen with their virtuously independent theatrical craftspersonship.
An allusion-rich piece of discursive theater, where everything is full of significance and rather funny. Sven Garbade, Weser-Kurier, The story of creation β seven days, light and darkness β is what three women and a man use to hold their production together.
