Press room


Translated extracts from press article

“Stasiuk’s play is not only an appreciation of anonymous dead people but it also deals with the pointlessness of wars whose ideals have long been forgotten.”

(Colette M. Schmidt, Der Standard, Kultur, 30 September 2013)


“Exciting matter and certainly a target for the upcoming commemorative year 2014.”

(Barbara Petsch, Die Presse am Sonntag, Kultur, 29 September 2013)


“Dead soldiers from World War I march through today’s airport building: Andrzej Stasiuk has blended two unusual layers in Thalerhof. […] The Polish author took the story of the former prison camp in the south of Graz as a starting point: During the war mostly Ruthenes, who were suspected of being sympathizers of Russia, were detained at Thalerhof camp. The story of this area, where today we find the airport, has only become known and reappraised in the past few years. […]”

(Karin Zehetleitner, APA, 28. September 2013)


“Andrzej Stasiuk is an exceptionally gifted satirist and surrealist. He practically brings a ‘traveller’ on stage as his alter ego, a wanderer through the course of time. One who observes the present and intensively converses with the dead from three days ago. They drill through the soil like moles: soldier Yusuf from Mostar, the Jew Mendel as someone from the opposite side, the Russian Afansaij. These Halloween ghosts ask the traveller and later generations who diligently water the plants at All Saints, how “their” affair, “their” war, continued. […] A story dry as a bone? Not in the least. Stasiuk is a great narrator. He doesn’t swing the moral club but relies on bizarre situational humour – in which director Anna Badora efficiently assists. By talking about the fate of the individual in a down-to-earth way they succeed in suggesting the atrociousness of the war situation. And even in the bold turmoil the individual is not left out. […] Director Anna Badora (the theatre director in Graz, like the author, is Polish herself) keeps the contemporary relevance alive scene by scene. And she keeps the perspective in mind: “Behind the barbed wire”. In this history perspective from the Carpathian mountains this is not the mean east but the centre of the Austro Hungarian Monarchy.”

(Reinhard Kriechbaum,, 28 September 2013)


“Seyneb Saleh and Simon Zagermann fight ravishingly as the Ruthene couple Sofia and Maxym about family responsibilities […] Verena Lercher’s monologue is touching when she wanders through today’s airport as a famished camp victim. The naïve faith in the future of the dead Christians, Jews, and Muslims who have been buried in the soldier cemetary since 1914 is sadly burlesque: Laurenz Laufenberg, Sebastian Klein, and Kaspar Locher show perfect fine tuning in the dialogue. […] In scenes like these you can see how sensitively director Anna Badora, who commissioned the play and directed it, guides her actors. She also succeeds in charging Thalerhof with unsentimental relevance to the present.”

(Ute Baumhackl, Kleine Zeitung, Steirerkrone, Kultur, 29 September 2013)

Graz, September - December 2014 - Download the pressbook