MTP 1

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UNLEARNING

Telling stories means reproducing images. Myths, legends, tales, but also non-fictional narratives such as reportage, biographies and everyday accounts construct certain images of their narrative subjects over time. As recipients of traditional narratives, we carry these images within us and subconsciously measure new narratives against them. Can we FORGET these constructions? And: If we question, deconstruct & FORGET the traditional narratives, can we tell stories differently?

Directed by Clara Brezinka, Viktoria Holenok, Pantelis Tiliakos and Charlotte Wulff. The projects were created in collaboration with students and artists from various disciplines and the Music Theater Dramaturgy course. Thanks to the supervising lecturers Frank Düwel, Luise Kautz and Albrecht Faasch!

Introduction in the foyer: 17:40
Admission: 17:50
Start: 18:00
There will be an interval.
4 pieces of 30 minutes each

STUS - Viktoria Holenok

A piece of Ukrainian remembrance culture in times of oppression. The violence of the USSR regime from the perspective of those left behind, the families, the children. The question of fatherhood from a distance. Vasyl Stus, Ukrainian poet and dissident, is arrested in 1972 when his poems are classified as propaganda against Soviet power. From then on, his son Dmytro is left with only his father's letters. Dmytro uses them to try to honor and remember his father and to find out whether he himself can be a good father, even though he never had one.

WITH Kolja Schumann (DMYTRO STUS, acting), Volodymyr Milushkin (VASYL STUS, vocals), Dariia Orllinska (PLAYER), Bent Lux (DRUMPET)
DIRECTOR Viktoria Holenok
TEXT Maike Graf based on letters and poems by Wasyl Stus
MUSIC Serafim Ivanov
DRAMATURGY Maike Graf
COSTUME Jule Hassold, Sarah Theresa Hofer
LIGHTING Lukas Mattern

Content Note: Thematization and representation of violence and war

SCÈNES DE FOLIE - Charlotte Wulff

Mad scene, mad scene, scena di pazzia, scène de folie. So many of the great arias by female opera protagonists bear this epithet. For the history of opera is full of female characters whose predetermined end is to become "mad". Women are incapacitated behind the pretext of tragedy, in that their tragic end is accompanied by a loss of rationality and thus a right to have a say. But where are the possibilities for counteracting this misogynistic operatic tradition? Can this supposed madness not also be a form of protest, a refusal to endure the status quo?

MUSIC Ambroise Thomas, Leonard Bernstein, Gaetano Donizetti
TEXTS William Shakespeare, Charlotte Brontë, Heinrich Heine, Georg Heym, Michel Carré/Jules Barbier, Lilian Hellman, Salvadore Cammarano, Sylvia Plath, Charlotte Wulff, Morgane Solignac
WITH Morgane Solignac (VOCALS), Laeticia Dodé (PLAYER)
And the voices of: Katja Danowski, Amy Elizabeth Buttschardt, Lara Stelling, Clara Brezinka, Pantelis Tiliakos, Jonas Bruhn, Joseph Noble
DIRECTOR Charlotte Wulff
DESIGN Nick Guse
COSTUME Charlotte Wulff/Nick Guse
DRAMATURGY Joseph Noble

BIG BREAST, FRATZE, SWEAT- Clara Brezinka

Sirens, hot hot hot! The enchanting mermaids are often told with seductive song and malicious murderous lust. Is any of this image true or is it a patriarchal and misogynistic fiction?

Imagine you are on a ship in uncharted waters.
Imagine you encounter sirens going about their business on a rock.
Imagine all the stories are false.
What do you hear?

ACTORS Lilja Peterson, Amy Elizabeth Buttschardt and Lara Stelling
WITH music by Lili Boulanger, Kate Soper, Kristia Michael, Caroline Shaw, Johanna Kinkel, Antonia Bembo, SXTN, Emmy Meli and a text by Wolfram Lotz
MUSICAL DIRECTOR Lilli Oeverink
ARRANGEMENT Lilli Oeverink and Johanna Rost
DIRECTOR Clara Brezinka
DRAMATURGY Maike Graf
TEXT Clara Brezinka and Maike Graf
COSTUME Sarah Theresa Hofer and Jule Hassold
LIGHT DESIGN Lukas Mattern
STAGE AND MASK Nana Nidowa
VOICES Frauke Aulbert, Kristia Michael, Liz Pearse, Katharina Schote, Leonore Lorek
INPUT EXPERIMENTAL VOICE TECHNIQUES Frauke Aulbert
INSPICIENCY Iván Ruge

Content Note: strobe light, loud sounds

SUPIDÖ - A self-recognition - Pantelis Tiliakos

In the dark interior of his head, where thoughts grope like blind hands, Oedipus wanders around. The songs of his Dionysian self - impetuous, untamed, longing for dissolution - circle him like scavengers around a carcass. A faceless voice speaks in the background, Apollonian, penetrating, luminous. It demands order, knowledge and truth where there is none. Oedipus stands on the threshold. In front of him, the open eyes of the past, the gaze of the sphinx that never dies. Behind him, the black hole of oblivion, the sweet poison of innocence. To look or to look away? To know or not to know? The truth as a wound or the lie as consolation?

MUSIC Georgian, Latvian and Greek folk songs.
TEXTS Roland Schimmelpfennig, Sophocles, Heiner Müller, Pantelis Tiliakos
WITH Elisabeth Hoppe, Kristīne Matvejeva, Liza Kereselidze, Lucas Zach
DIRECTOR, MUSICAL DIRECTOR, LIGHT DESIGN Pantelis Tiliakos
STAGE DESIGN Saba Emadabadi
COSTUME DESIGN Lou von Ohlen
DRAMATURGY Angelika Haußmann, Joseph Noble
SOUND DESIGN Artemis Papadaki
STAGE DESIGN ASSISTANT Elisabeth Dimigen
ARTIST, INSPIRE Iván Ruge
Content Note: Stroboscopic light, thematization of violence

Eintritt frei

Registration is necessary and can be done via eventbrite.