Light design 2013

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It aint over till its over

 
Direction: Anna K. Becker & Katharina Bischoff
Set design: Ina Vera
Lighting design: Minna Heikkilä
Music/Sound: Alice Ferl (and Johanna Seitz)
Dramaturgy: Heike Pelchen
Assistant: Anne Herwanger

Performers: Esther Becker, Danijela Milijic
 
Premiere: May 22th, 2013, Sophiensäele, Berlin, Germany
 
 
The end is present. Scenarios of the end are with us every day. It is the end of the Story, the end of Class warfare, the end of Philosophy, the end of Christianity and Moral, the end of Subject, the end of Humanity, the end of Shangri-La, the end of Oidipus, the end of the World, Apocalypse now.

This performance takes a closer look at "the end", conjure it up and is ready to celebrate it properly. What is so fascinating about endings? Why we are afraid of them? What makes an end so final? We study and present to you various endings from literature, film, art and history. What can we learn from them about giving up, continuing and starting over?


End can be scary, but also relieving event. It can take something away from us, but also open up a way to something new. Only in the end we can judge and value things.

Only the end creates structure and allows intuition. This much is certain: whether announced or surprise, awaited or dreaded, inevitable or caused: The end is never a fact but always a fact interpreted in the perspective of other facts.
 
The final curtain has not yet fallen. And is not the interest in the end actually a passionate interest in the continuation or the reversal, the beginning of a life in greater abundance than in the past?
 
Whether announced world ends, the end of childhood, the end of the DDR, whether Black, Death, the happy ending, the farewell, decay, the curtain, the countdown, the fade-out, the final chord, the catastrophe, the solution or the fulfillment - in gestures, stories and images of bigNOTWENDIGKEIT ends are conjured up, dissected, celebrated, and re-assembled. The countdown is on. The end is near.
 
Visually this project was very interesting and challenging because it is first of all staged on mirror-like golden foil. Secondly, the concept is very performative and not the least theatrical in it's sense, so there is very little space for conventional theater lighting and sound. So, what we came up as an idea was to to create yet another level of existence on top op the obvious one. We ended up exploring and staging the possible endings with light and sound both individually and collaboratively and it all interacts or counteracts with the speech throughout the duration of the performance. The aim was to create a kind of breathing and pulsating space out of which our interpretations of possible endings would bounce out.
 
White space photos by Florian Krauss.
Black space: Verena de Baan
 
 
Direction: Dalit Bloch
Set design: Dalit Bloch (concept), Andres Jost
Lighting design: Minna Heikkilä
Costume design: Kurt Walter
Assistant: Nathalie Grignaschi
text adaptation: Ueli Blum
Graphic design: Diana Schroth

Performers: Diana Schroth, Gabriele Bianco, Markus Spillmann, Peter Brêchet, Michael Enzler, Bri Jost, Werner Kirchhofer, Norina Molina, Claudia Reinhardt, Gordana Schwizer, Nathalie Grignaschi
 
Premiere: April 12th, 2013, Mehrzweckhalle, Therwil, Switzerland
 

Faith, Hope and Charity : A Little Dance of Death in Five Acts

This is a story of Elisabeth, a young woman with serious financial problems. She tries to overcome these by attempting to sell her future corpse already while still living. She finds out fast that this is not allowed, but the a worker at the anatomical institute feels sorry for her and lends her the money anyway. Turns out that Elisabeth already got the necessary amount of money from somebody else and she is therefore sentenced as a scam artist. She swears that she intended to return the borrowed money to all parties as soon as possible and meant to scam nobody, but people don't really believe her. Her epic-love relationship with ambitious young police officer comes to an abrupt end when he finds out about her mischievousness. Devastated and at loss of solutions, the penniless Elisabeth chooses to commit suicide to escape the situation.

 

Original time frame of this play by Ödön von Horváth is the 1930's, a time when poverty, abuse of the social power, economical crisis and corruption were part of everyday life. Director Dalit Bloch sees throughout parallels to present time and wants to encourage the spectator's recognition of this, therefore the place and time of adaptation is abstract. The dialog of the play remains in it's old form in the hope that by choosing this approach, it is possible to dissolve the distance the audience might feel. Modern set design together with old-fashioned speech builds a bridge from the old days to present day.

 


 

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