The logo of the post-migrant theatre Ballhaus Naunynstraße: a drawing of a dog’s head in profile, showing its teeth with its tongue hanging out. Next to the dog’s open mouth is a red star.

Ballhaus Naunynstraße

Der kleine Bruder des Ruderers
Der kleine Bruder des Ruderers
Der kleine Bruder des Ruderers
Der kleine Bruder des Ruderers
Der kleine Bruder des Ruderers
Der kleine Bruder des Ruderers
Der kleine Bruder des Ruderers
Der kleine Bruder des Ruderers
Theater

Der kleine Bruder des Ruderers

By Kossi Efoui

At some point, all you want is for things to be practical. It would be practical not to have a skin, or a story. Finish.

Where should Kari be buried. On this side, or the other? ‒ Kari jumped out of the window three days ago. Her friends are waiting for the rower who will ferry her body out onto the lake. A place that Kari never got to. No one knows why she killed herself, and no one wants to accept the fact.

The tragedy prompts her friends to muse on their own lives between different worlds, and wonder where they actually belong: do they belong here where they were born, or to the place where their parents come from, because in some way our lives begin long before we are actually born. Is it possible to feel at home in a place you only know from holidays?

In this play, the young German-Togolese director explores the subject of African roots and migration as part of her own story. The three protagonists all come from a mixed background, a common enough situation but which sometimes requires extraordinary solutions.

The award-winning Togolese author Kossi Efoui now lives in France.