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A party for Boris, created in 1970 at the Deutschen Schauspielhaus of Hamburg under the direction of Claus Peymann, was Thomas Bernhard’s first play. It was influenced by Beckett and Genet but it already contained the recurrent obsessions and poetic patterns of the Austrian author. Incomplete and physically diminished characters, sorts of human leftovers of a decadent and hypocrite society, reduced to inaction, they nevertheless speak a flood of vociferous and exhilarating cultivating the art of irritation, a favourite one of the Place for heroes author.
Key character of A party for Boris, the Good Lady lost her legs in an accident. A bit of a socialite benefactress, she actually maintains with the world a relation of hatred and opposition whose stirring flow is poured out on Johanna, her lady’s companion, silent presence also looking after Boris, her mistress’s new husband, unfortunately legless. Boris is the creature of the Good Lady, refugee in an animal silence where cries and noises are the only way of communicating. For his birthday, the Good Lady organizes a banquet for the thirteen legless mixing with Boris at the hospital.
For this new adaptation of the play, the great director from Quebec Denis Marleau chose to set Bernhard’s characters in the closed world of childhood, this lost childhood where roles can permute, juggle, from mask to disguise, from doll to video character. This theatrical game of mirrors permits to accede the author’s wish, who had subtitled his first drama: “show for puppets in the form of human beings or human beings in the form of puppets”.