Süßer Vogel Jugend (Sweet Bird of Youth)

Statement of the Jury

Those who think that they are currently witnessing the demise of political culture in the US may well find themselves disabused by Tennessee Williams’ “Süßer Vogel Jugend (Sweet Bird of Youth)”. In the past, during the late 1950s to be precise, the situation was no better than it is today – on the contrary. “Sweet Bird of Youth” is a splendid example of Western disillusionment, dismantling the usual myths of not only American dreams with acerbic wit. Success, fame, money, love and above all the hope of any real understanding between people are lovingly pulverised. The play’s particular charm lies in the fact that none of the protagonists have any doubt at all about their own – or the others’ – perfidiousness and that they all describe it in no uncertain terms. This kind of unconditional honesty is possible because all have long given up any hope of influencing anyone else except through brute force or ruthless blackmail. What counts in Claudia Bauer’s production is fearless achievement under an at times pitiless scrutiny of one’s own fakes and felonies. Because the director and her actors know only too well that authenticity holds no currency in this panorama of self-interests, demolished illusions and life-long dreams. Her merciless, acute sketches are full of acerbity and malice and they become the more ominous the more foolishly the characters expose themselves. Claudia Bauer’s horrific clowns and lucky corpses are highly animated indeed.