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Liebes Arschloch - Schauspielhaus Zürich

Liebes Arschloch

© Gina Folly

By Virginie Despentes
Staging: Yana Ross

Oscar is a writer in his 50s, at the height of his success – and suddenly accused in a #MeToo scandal. He believes himself innocent and no longer understands the world: It was a love story, an unhappy one at that. How could Zoé turn it into a story about abuse of power that would destroy his life and career forever? Is she only interested in her fame as a feminist blogger? And anyway, wasn’t it he who got rejected? Who is the victim here? Distraught and offended, Oscar seeks contact with the heartthrob of his youth, one of the country’s biggest film divas. Rebecca, only a few years older than Oscar, initially doesn’t have much understanding for the moralism of the younger generation, either, but increasingly develops empathy for Zoé’s perspective. A duel begins about old and new feminism, about prudishness, intoxication and #MeToo, about class, identity and political correctness, in which it ultimately becomes clear that things are less black-and-white than they seem amid the shitstorms.

Virginie Despentes’ new epistolary novel is political literature with black humour that doesn’t spare any ego nor try to hide any personal contradiction. Dazzling material
for the wanderer between worlds and cultures Yana Ross, who directs the world premiere of the adaptation of the French bestseller at the Pfauen.

Link to the digital programme booklet

Yana Ross
Live music
Magda Drozd
Costume design
Zane Pihlström
Magda Drozd
Frank Bittermann
Katinka Deecke
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Audience Development
Silvan Gisler / Tali Furrer
Touring & International Relations
Sonja Hildebrandt
Artistic Mediation T&S
Manuela Runge
Production Assistance
Samuel Petit
Eva Lillian Wagner
Costume design Assistance
Sara Bosshard
production intern
Philipp  Stevens
Costume intern
Lisa-Maria Liner
Michael Durrer
Katja Weppler
Surtitle installation
Raman Khalaf (Panthea)
Surtitle translation
Anna Galt
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Virginie Despentes wird von Intertalent Paris vertreten. Die Aufführungsrechte der Übersetzung liegen beim Rowohlt Theater Verlag, Hamburg.

Der Roman Liebes Arschloch von Virginie Despentes, aus dem Französischen von Ina Kronenberger und Tatjana Michaelis, ist im Verlag Kiepenheuer & Witsch erschienen.

  • 90min
  • World premiere: 25. November 2023, Pfauen
  • Pfauen
  • English Surtitles
  • 🛈 Introduction 30 min before the play on 27.11., 29.11., 8.12., 13.12, 28.12. and 15.1.

    *** Trigger warning: This production deals with topics such as addiction, sexual assault, violence and suicide. Stroboscopes and smoke/fog are used. ***
Tuesday 05.12. 20:00 Pfauen
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  • Tues
Friday 08.12. 20:00 Pfauen
  • Annabelle – nuit spéciale
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  • Fr
Saturday 09.12. 20:00 Pfauen
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Sunday 10.12. 15:00 Pfauen
  • Doppelspiel
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  • Sun
Wednesday 13.12. 20:00 Pfauen
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  • Wed
Tuesday 19.12. 20:00 Pfauen
  • Pay what you want
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  • Followed by an artist talk
Thursday 28.12. 20:00 Pfauen
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  • Migros Subscription
Sunday 07.01. 16:00 Pfauen
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Thursday 11.01. 20:00 Pfauen
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  • Followed by an artist talk
Monday 15.01. 20:00 Pfauen
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  • Theatre Monday
Wednesday 17.01. 20:00 Pfauen
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Thursday 18.01. 20:00 Pfauen
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Thursday 01.02. 20:00 Pfauen
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Saturday 03.02. 20:00 Pfauen
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Image gallery & Videos

Bits on Pieces
More texts and contexts related to our stagings in the theatre’s journal.

In dem Roman Liebes Arschloch von Virginie Despentes wird ein komplexes Bild von Sucht und Entzug gezeichnet: Rebecca, die Protagonistin, lebt ihr Leben lang als erfolgreiche Schauspielerin mit einer Heroinabhängigkeit. Dies widerspricht dem gesellschaftlich verbreiteten Bild einer Süchtigen. Für das Programmheft der Inszenierung von Yana Ross hat Philipp Stevens ein Gespräch mit Dr. Thomas Lüddeckens geführt, Facharzt für Psychiatrie und Psychotherapie und Chefarzt der Klinik Im Hasel. Es behandelt Fragen des Drogenkonsums, Konsumkompetenz und substanzgebundene Störungen.

The Directors Talk
About Season 23/24

The 23/24 season of the Schauspielhaus Zürich will be special. Not only because it is the last season of Nicolas Stemann's and Benjamin von Blomberg's directorship, but also because the eight house directors are all returning to the house once again to work on new productions. In eight short videos, they talk about their plans.