PremiereFor this collaborative project, She She Pop cast a fascinated view upon the orchestra of the Junge Deutsche Philharmonie. They discover a monstrous collective body – a multi-limbed, expressive being breathing with numerous lungs – and, at the same time, a polyphonic, creative community much like She She Pop themselves.
Hexpolitation explores society’s fear of the ‘hag’ – the old woman and witch. Naturally, She She Pop will be using their ageing bodies for this purpose: to fight against the invisibility and loss of status that women suffer in society when they are no longer of childbearing age. To this day, the term ‘witch’ is used to belittle or reduce women. The witch – an anarchic, heretical woman – stands for sexuality beyond reproduction and subversive behaviour towards power structures and authorities.
On tourShe She Pop steps forward to elicit a new meaning of “theatre without an audience”. As proposed in Brechtian Lehrstück theory, those on stage try different attitudes and give speeches. In the Possessed monologue, a polyphonic monologue can be heard, whereby the community has its say.
In Bullshit, She She Pop courageously confront the loss of a shared reality. They acknowledge that they know nothing, that even the poetic reality of the theatre space has been affected. So they try to leave the bubble of their perception to take on other proportions, to see other colors, to communicate like a bat with sonar, and to find themselves in absolute darkness. Embracing uncertainty, they dedicate themselves to unlearning and to imagining different ways of seeing. Can they succeed in creating a positive experience out of the chaos, in finding meaning in randomness, in creating sense in the confusion of possibilities – or, as a last resort, in declaring bankruptcy to be a comedy?
Together with a choir of local delegates and the audience, She She Pop drag the secret of ownership onto the stage. In dissonant chants, they negotiate their own property relations and the associated conflicts.
PremiereFor this collaborative project, She She Pop cast a fascinated view upon the orchestra of the Junge Deutsche Philharmonie. They discover a monstrous collective body – a multi-limbed, expressive being breathing with numerous lungs – and, at the same time, a polyphonic, creative community much like She She Pop themselves.
In Bullshit, She She Pop courageously confront the loss of a shared reality. They acknowledge that they know nothing, that even the poetic reality of the theatre space has been affected. So they try to leave the bubble of their perception to take on other proportions, to see other colors, to communicate like a bat with sonar, and to find themselves in absolute darkness. Embracing uncertainty, they dedicate themselves to unlearning and to imagining different ways of seeing. Can they succeed in creating a positive experience out of the chaos, in finding meaning in randomness, in creating sense in the confusion of possibilities – or, as a last resort, in declaring bankruptcy to be a comedy?
Hexpolitation explores society’s fear of the ‘hag’ – the old woman and witch. Naturally, She She Pop will be using their ageing bodies for this purpose: to fight against the invisibility and loss of status that women suffer in society when they are no longer of childbearing age. To this day, the term ‘witch’ is used to belittle or reduce women. The witch – an anarchic, heretical woman – stands for sexuality beyond reproduction and subversive behaviour towards power structures and authorities.
Together with a choir of local delegates and the audience, She She Pop drag the secret of ownership onto the stage. In dissonant chants, they negotiate their own property relations and the associated conflicts.
On tourShe She Pop steps forward to elicit a new meaning of “theatre without an audience”. As proposed in Brechtian Lehrstück theory, those on stage try different attitudes and give speeches. In the Possessed monologue, a polyphonic monologue can be heard, whereby the community has its say.
