A collective meditation on a well-kept secret
“Let it belong to those it is good for.” (B. Brecht)
Property changes consciousness. It divides friends, grants power over others and excludes. Property is taken for granted. But it is not talked about. Yet nothing is as constitutive for our society or our coexistence; nothing has such a divisive effect on our community. With ORATORIO, She She Pop wants to air the secret of property, to drag it out onto a stage.
It is said that Western theatre began with the protagonist Thespis, who stepped out from the choir 2,500 years ago. But you could also say: it was the moment that the stage was privatised. Since then, the individual has been consistently overrated, overburdened and emotionally exploited. ORATORIO would like to shed some light on the context of the bourgeois public, property and democratic empowerment.
Together with each choir of local delegates and their audience, She She Pop will start a discussion on property and examine their own relationship to ownership, the distribution of goods and its related problems. Inspired by Brecht’s Lehrstücktheorie, they develop rules for a dialogical theatre show and form discordant speaking choruses, which renegotiate with each performance how we deal with property. Who is allowed to speak? Who is present, who is represented? A collective monologue emerges from the diversity of voices, discord, and occasional, momentary harmony.
ORATORIO is a work-in-progress, which premiered in February 2018 at HAU Hebbel am Ufer in Berlin. A first showing will take place at the Theaterformen 2017 in Hanover and further, at the Konfrontacje Teatralne Festival in Lublin and the ACT Independent Theatre Festival Sofia. From here, ORATORIO sets off on a tour of Europe, in the course of which it will gather momentary impressions from other economic microcosms, and at each stop along the way, it will evolve into a great multi-voice meditation.
By and with: Sebastian Bark, Johanna Freiburg, Fanni Halmburger, Lisa Lucassen, Mieke Matzke, Ilia Papatheodorou, Berit Stumpf and the choir of local delegates.
Sets: Sandra Fox, Costumes: Lea Søvsø, Music: Max Knoth, Artistic advice: Ruschka Steininger, Trainee: Laia Ribera, Technical Director & Lightdesign: Sven Nichterlein. Production: Anne Brammen, Communication: ehrliche arbeit - freies Kulturbüro, free artistic advice: Tina Ebert, Administration: Aminata Oelßner, Company Management: Elke Weber.
A production of She She Pop in Co-production with HAU Hebbel am Ufer Berlin, Festival Theaterformen, Münchner Kammerspiele, Kampnagel Hamburg, Schauspiel Leipzig, Schauspiel Stuttgart, Kaserne Basel, ACT Independent Theater Festival Sofia, Konfrontacje Teatralne Festival Lublin.
The Showing in Hannover is supported by PRODUKTION. made in germany drei.
Funded by the German Federal Cultural Foundation and by the City of Berlin – Department for Culture and Europe.
premiere, February 2018, HAU Hebbel am Ufer, Berlinmore dates:
- June 2017, Hannover
- October 2017, Konfrontacje Teatralne Festival Lublin, Lublin
- November 2017, ACT Independent Theater Festival Sofia, Sofia
- February 2018, HAU, Berlin
- March 2018, Schauspiel Leipzig, Leipzig
- March 2018, HAU, Berlin
- April 2018, Münchner Kammerspiele, München
- May 2018, Kaserne Basel, Basel
- June 2018, Impulse Theater Festival, Mühlheim
- June 2018, Schauspiel Stuttgart, Stuttgart
- August 2018, Mousonturm, Frankfurt am Main
- September 2018, Mousonturm, Frankfurt am Main
Reviews of the Premiere in Berlin, February 2018
"The surprise comes right at the beginning. Actually nothing at all has really happened yet on the dark, empty stage of HAU2. Just a text on the screen giving brief instructions. But they are so rousing that for a good ten fifteen minutes the audience is put in a mood that is otherwise familiar only from cabaret or carnival. Just let someone say that the supporters of the post-dramatic are theory-damaged, empathy-hating theatre sceptics.”
Doris Meierhenrich, Berliner Zeitung, 12.02.2018
Reviews of the Showing in Sofia, November 2017
„To claim that such a theatrical work leads to some sort of surprise or discovery, it
would be inconsistent with its aims. It is not so much about the discovery of profound social contradictions, rather then targeting the ability of the theater to act on an individual, biographical level raising resemblant questions, which are otherwise mostly left in the hands of the media. In this way, the theater tries to preserve its freedom, distinguishing itself from them. So, in the general chorus of theatrical practices from the recent decades, She She Pop is certainly part of the chorus of the fetterless.“
Violeta Detcheva, “Kultura” magazine, 01.12.2017
„Oratorio”, at least for me, provoked on many levels feeling for awakening, for clarity, for uncompromisingness and truth. But most of all, it has proven the ever-growing need to articulate from the stage even the simplest and most obvious things that are actually the most difficult to define."
Elena Angelova, portal “Kultura”, 01.12.2017
Reviews of the showing in Hannover, June 2017
".. many things suggest that “Oratorium” - after She She Pop's success story "Testament” about inheritance - will be a similarly fine, self-deprecating show."
Mounia Meiborg, Süddeutsche Zeitung, 15.06.2017
"That's how Brecht would have liked it ..."
Stefan Gohlisch, Neue Presse, 11.06.17
"... fundamental social questions, which could be thought-provoking. Nevertheless, the evening was not lacking in humour ... "