The solitary figure represented by Grenouille in Perfume (1986), reappears as the anonymous musician, who in his sound-proofed room has in a sense encapsulated himself like the metaphoric tick associated with the perfumer. That locus from which the musician addresses his audience is the subject of remarks by Suskind in the journal "Theater heute," where the author suggests an autobiographical element which will be seen again in The Pigeon (1988): "The Double Bass concerns, among an abundance of other things, the existence of a man in a small room. Here I reached back to my own experience since I spend the greatest part of my life in rooms increasingly small. I hope, however, to find one day a room that is so small and encloses me so narrowly that upon my exit it accompanies me. In this kind of room I will try to write a drama for...