„I believed I could reshape the world, create a better and fairer world.“
Her life lasts almost the entire century - a life marked by flight, by a great loss that still hurts today, that has never stopped hurting. But also a life marked by a great hope that has made the unimaginable possible. It is much later that the daughter begins to ask questions, and the mother searches for answers, for her own answers. And then she talks about the time before being a mother, about her own experience of being a daughter, about being Jewish, about being cast out, about arriving in another country, about loss and pain, insurmountable until the end - and then about the return. About a new beginning, that jubilant word, back in the completely bombed birth city, about the founding of a new state, the GDR, about a common vision, stronger than ever before, a wish to change the country, to make the world better, to prove that it is possible.
But what remains when this vision dangerously wavers?
HEIMWEH WONACH examines not only the great turning points in life but also the everyday, the coexistence in the family between parents and children - sometimes tender and sensitive, and then again full of accusation. The play shows how, despite experienced pain and the speechlessness about it, an approach between the generations can begin.
“With ruthless, reckless intensity, my mother worked on her fingers with the most varied instruments. She was never cautious or gentle. Often the blood would flow out, which she would lick off or suck more. I watched her as she, like a craftsman, chose the right instrument. When she had cut too deep and the blood flowed out, she scolded me as if I were to blame.”
HEIMWEH WONACH is based on an interview with Ursula Herzberg, conducted by Wolfgang Herzberg, her son (author, publicist, and lyricist for the punk band PANKOW), her own life report from 2000, as well as texts from her daughter Wera Herzberg (director).
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Hallo, ich bin Maya.
