Around the deathbed of Planck (not the German physician), stands his four daughters in an emotionally heated farewell mood. Nearby stands Sara, Planck’s wife through 42 years, preparing for a life alone. In the oldest daughter Laura (A secretary), Rosa (An actress) and Anna (A hopeful jurist), repressed feelings and pent-up tension emerge. Regarding the youngest daughter Maria, the upcoming death of the father leads to an existential crisis. She has a remarkable imagination, and with the knowledge of the neighbour’s son about the physician Planck’s theories, she breaks with the regular limits of cognition, and projects death into time and space – with movements back to childhood and into the future. Once again, Belbel is occupied with death and conscience – this time inspired by Planck’s quantum theory. The play consists of 44 short scenes played partly in the existing room, and partly in the imagination of Maria; she makes the changing between reality and grotesque sceneries possible – such as nightly sex escapades and a hash party on the deathbed. An impressive play.
