Dance Me!

Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Dance Me! is a dance marathon between two competing generations. The stage is an arena in which She She Pop and guests take on the role of the elderly; the others are a group of young performers. Mutual incomprehension, otherwise known as the generation gap, is brought to the stage and celebrated in a strict dance ritual. The teams take turns: those who are not on the dance floor man the microphones and make music. The two generations not only make the other group dance to its beat: they also push each other  to exhaustion while chalking up a long list of insults, complaints and justifications. Or is it a show of admiration? Gratitude? — We don’t know. For the show, the two teams have practised separately and face off their opponents with their latest moves.
What is a generation anyway? Does it really exist? And if so: what do we have to say to each other? Look here, listen: this is what we have learned, this is where our wisdom lies, this is our concern, our desire, our boredom, our blind spot. This dance step, this formation tells of it, this song line sums it all up! Get up, stand up / Let me hear your body talk / Don’t stop til you get enough / Shablam for me / Da Da Da / Dance me to the end of love…! For the show, the two teams have practised separately and face off their opponents with their latest moves.

 

Credits

Concept/Idea: She She Pop (The cast changes every show). By and with (old): Sebastian Bark, Dan Belasco Rogers, Santiago Blaum, Johanna Freiburg, Fanni Halmburger, Lisa Lucassen, Mieke Matzke, Ilia Papatheodorou, Tatiana Saphir, Claudia Splitt, Berit Stumpf. By and with (young): Hiyam Biary, Eren M. Güvercin, Jan Nwattu, Şimal Nil Şahin, Nikolas Stäudte, Béla Arnaud Weimar-Dittmar, Zelal Yesilyurt, Sindi Zeneli.

Artistic Advise: Laia Ribera Cañénguez, Rodrigo Zorzanelli Cavalcanti, Stage: Jan Brokof, Costumes: Lea Søvsø, Costumes Assistance: Marie Göhler and Gabi Bartels, Light Design: Andreas Harder, Light Design Assistance: Vito Walter, Choreografic Advise: Jill Emerson, Sound: Xavier Perrone, Technical Director: Sven Nichterlein, Production: Valeria Germain, Production Assistence Young: Sarah Mounia Kachiri,  PR, Communication: ehrliche arbeit – freies Kulturbüro, Freelance  Communikation Support: Tina Ebert, Financial Administration: Aminata Oelßner, Company Management: Elke Weber.

Workshop Input: The Darvish, Jasmine Thomas, Bree Hauschild, Sven Drühl.
Special thanks to: Max Knoth, Stella Konstantinou and Peggy Mädler.

Simultaneous English Live Translation: PANTHEA / Irina Bondas (22.01. and 23.01.2022)
Audio description: Pingpong Translation & Subtitling / Martina Reuter (24.01.2022)

A Production of She She Pop in Co-Production with HAU Hebbel am Ufer Berlin, Kampnagel Hamburg, Künstlerhaus Mousonturm, FFT Düsseldorf, HELLERAU – Europäisches Zentrum der Künste. Funded by the German Federal Cultural Foundation and by the City of Berlin – Department for Culture and Europe.

Trailer

Dates


past dates:
February 11/12/13, 2022, Kampnagel, Hamburg
January 19/21/22/23/24, 2022, HAU, Berlin
January 18, 2022, HAU, Berlin

Press

“The accompanying dance interludes demonstrate a great love of abandon and choreographic commitment, pop culture reminiscences, charming, Macarena song-inspired arm and hip swaying, trance and improvisation. Body strength and weight are danced into the floor, repetitive formations are charted to club sounds, sequences of movements by individual performers translated into group images over and over again. These are beautiful images for tensions in which individual lifestyles meet zeitgeist, socialization and economy.”
Stephanie Drees, Nachtkritik, 19.01.2022

Hexploitation

Foto: Dorothea Tuch
Foto: Dorothea Tuch
Foto: Dorothea Tuch
Foto: Dorothea Tuch
Foto: Dorothea Tuch
Foto: Dorothea Tuch
Foto: Dorothea Tuch
Foto: Paula Reissig
Foto: Paul Holdsworth
Foto: Gernot Wöltjen
Foto: Gernot Wöltjen
Foto: Gernot Wöltjen
Foto: Gernot Wöltjen
Foto: Gernot Wöltjen
Foto: Gernot Wöltjen
Foto: Gernot Wöltjen
In 1962 the film Whatever Happened to Baby Jane was released into the cinemas. The psycho-horror thriller about two ageing female movie stars was a surprising hit and kicked off a whole new film genre known as the ‘psycho biddy’ or ‘hagsploitation’ movie. The film diva steps in front of the mirror in a studied pose, sees her aged face – a distorted version of how she sees herself – and lets out into a blood-curdling scream. This has become an iconic image.

This year, the members of She She Pop will all be about 50. And so, they explore society’s fear of the ‘hag’ – the old woman and witch – in their new production Hexploitation. Naturally, they 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.

In Hexploitation, She She Pop lock themselves and the audience in a mise en scène reminiscent of a low-lit, kitschy film set from which there is no escape. A live camera serves as a magnifying glass and intimate examining tool. With its help, the She She Pop team, in the guise of ageing psycho biddies, explore their own disturbing imperfections and obsessions, go in search of taboos and examine traditional witchcraft. They also discover the camera as a magic box through which they can repeatedly transcend their bodies to create liberating self-portraits, coupled with melodramatic disgust and comical lust, reminiscent of Norma Desmond’s memorable line: ‘Mr DeMille, I’m ready for my close-up!’ (Sunset Boulevard, 1950).

Credits

By and with: Sebastian Bark, Johanna Freiburg, Fanni Halmburger, Lisa Lucassen, Mieke Matzke, Ilia Papatheodorou, Berit Stumpf.

Music: Santiago Blaum, Director of Photography & Video Installation: Benjamin Krieg, Sets: Sandra Fox, Costumes: Lea Søvsø, Costumes assistance: Lili Hillerich and Mads Dinesen , Artistic and dramaturgical Advice: Laia Ribera Cañénguez, Sound Design: Manuel Horstmann, Light Design: Michael Lentner, Technical Director: Sven Nichterlein, Video Support: Daniela Garcia del Pomar, Precision Mechanics Camera Control: Thilo Gödel, Embedded Software Engineer – Camera Control Grzegorz Zajac,  Interns: Carolin Bodensteiner, Rodrigo Zorzanelli Cavalcanti, Production: Valeria Germain, PR, Communication: ehrliche arbeit–freelance office for culture, Freelance Communication Support: Tina Ebert, Financial Administration: Aminata Oelßner, Company Management: Elke Weber.

Special thanks to: Veronica Dyas (Dublin), Claudia Opitz (Basel), Eva von Redecker (Berlin), Takako Shibata (Tokyo).

A production of She She Pop in Co-production with HAU Hebbel am Ufer Berlin, Kampnagel Hamburg, Künstlerhaus Mousonturm, FFT Düsseldorf, Residenz Schauspiel Leipzig, HELLERAU – Europäisches Zentrum der Künste, Kaserne Basel and Festival delle Colline Torinesi Turin / TPE – Teatro Piemonte Europa.

Funded by the German Federal Cultural Foundation and by the City of Berlin – Department for Culture and Europe.
www.kulturstiftung-des-bundes.de

Trailer

Dates

May 26/27/28/29, 2022, HAU, Berlin

past dates:
February 18/19, 2022, Europäisches Zentrum der Künste Hellerau, Dresden
February 07/08/09, 2022, Residenz Schauspiel Leipzig, Leipzig
December 10/11/12, 2021, FFT, Düsseldorf
November 26/27, 2021, Europäisches Zentrum der Künste Hellerau, Dresden CANCELLED
July 14/15/16/17, 2021, Mousonturm im Frankfurt LAB, Frankfurt am Main
June 17/18, 2021, Kaserne Basel, Basel
January 29/30, 2021, Europäisches Zentrum der Künste Hellerau, Dresden CANCELLED
November 01, 2020, Kampnagel, Hamburg
October 30/31, 2020, Kampnagel, Hamburg
September 20/22/23/24, 2020, HAU, Berlin
September 19, 2020, HAU, Berlin

Dates

May 26/27/28/29, 2022, HAU, Berlin

Press

“Like fresh teenagers on a self-awareness course, four members of the She She Pop team (Johanna Freiburg, Berit Stumpf, Mieke Matzke, Sebastian Bark at the premiere) sit half-naked on stage, looking at their genitals with mirrors. The time is ripe for them to take a good look at their bodies again, which they do right from the start with a touch of delightful intimacy lacking any embarrassment. (…) (…) All is revealed. The show examines issues of getting thinner or fatter, age spots and wrinkles, spare tyres and period blood. The performers do a self-deprecating survey which, by the end, has become a fantastic She She Pop spectacle (…)
(…) In one of the best scenes, separate body parts are assembled on the video screen. For example, a head becomes a belly or Sebastian Bark crawls out from a women’s pubis like during birth. It’s a show wonderfully self-mocking images about gender, in a cinematic transformation that lands punches and teases every which way. (…)”
Simone Kaempf, nachtkritik, 19.09.2020

“Not only wrinkles and belly fat are shown, but close-ups of a woman’s pubis are projected onto the set and quickly distorted in fast succession. Body parts and faces connect while the history of witch-hunts is discussed or the performers discuss menstruation, the female body in capitalism and bodily self-image. “Is it the spotlights or am I just having a hot flash?” asks Berit Stumpf at one point. The evening, which lasts just seventy minutes, is a post-dramatic tour de force, joyous, funny and feisty. (..)(…) They question and film each other, set challenges, concoct artificial menstrual blood for the man in their team and keep raising the stakes until, in a rapturous finale, the old tropes are abolished. Loyalty to the male gaze, which reduces women who can no longer have children to witches, is renounced. (…) The effect is electrifying, and the audience ends up bewitched, bothered and bewildered.”
André Mumot, Deutschlandfunk Kultur, 19.09.2020

“The fact that this neither seems pornographic or provocative, but just a natural part of intimate research, is down to the group’s tongue-in-cheek performance. Nothing about this show is uptight or exhibitionistic. (…) (…) it is a highly self-deprecating mixture of horror film and witches’ kitchen. (…) It is (…)[the] intimacy, the light-heartedness and the humour that touch you.” Barbara Behrendt, Inforadio RBB Kultur, 19.09.2020 “A body is never just a body, least of all when it is female. And this is why Hexploitation primarily consists of the performers beating their way through the tangle of male-dominated tropes of the Other, as well as myths and manipulations that classify the female body and render it available. Persistent diagnoses of irritability during the menopause, for example, which Mieke Matzke presents in a lecturer’s tone, are countered by the performers’ radically unemotional, cold view of their genital anatomy. (…) Hexploitation (…) takes you by surprise with its completely unashamed radicalism.”
Doris Meierhenrich, Berliner Zeitung, 21.09.2020

“(…) Most of the scenes are performed throughout in an open bathrobe or completely naked. This does not break any aesthetic conventions, but points to the fact that spaces and roles for women over 50 are dwindling, not least in the cultural sector. The menopause is a metaphor for invalidation. And it’s about women’s bare existence. She She Pop celebrate the attempt to break away from this age-old trope of withering femininity in a cool film-studio setting. Here, video artist Benjamin Krieg creates a striking visual layer with his own narrative: he shows close-ups of vulvas, which sometimes take up the entire theatre in a carousel of images, and morphs the faces of the performers into each other, as well as other clever cross-fades (…).”
Patrick Wildermann, Tagesspiegel, 21.09.20

“(…) The show is a potent mixture of witches’ sabbath and a discourse on exploitation, which, as is customary in She She Pop, finds its roots in the group’s radical exhibitionism, but almost immediately spills over into a comprehensive structural analysis that spans decades. In the witches’ cauldron, we find the pathologised woman of around fifty; medical research, which orients its drugs on men’s organisms; an armada of misogynistic poets and thinkers (such as Rainer Maria Rilke and “The Faded One”) alongside many other wicked things, combined with unsparing close-ups of fleshy folds, drooping breasts and the members’ thinning hair. Those who scream “authenticity” here must also scream “ironic twist”, because the much-maligned concept of authenticity is, as always in She She Pop’s work, skilfully undermined in this lecture-performance that combines text, music (Santiago Blaum), video (Benjamin Krieg) and outlandish costumes (Lea Søvsø).”
Dorte Lena Eilers, Theater der Zeit, 1/2021

“(…) She She Pop declares war on the patriarchs of this world and then belt out Lana Del Rey’s “Young and Beautiful”, in which being “young” and “beautiful” happen not to be requirements for a worthwhile life. Now, if not sooner, it is clear that the group understands female issues without falling into heavy-handed activism. Because this is not a moralising show. It considers its subject realistically in the context of culture and pop-culture, initiating a self-healing process with its open display of bodies and self-doubt, of which many fashionably feminist theatre professionals can only dream.”
Anna Fastabend, Theater heute, Oktober 2020

Workshop International Summer Camp Academy 2021 (Warsaw)

The Summer Camp Academy is organized in collaboration with Komuna/Warszawa, La Comedie de Clermont Ferrand and the Epidaurus Festival in Athens as part of Creative Europe’s project “In Search of a Home – Ithaca”.

Credits

This She She Pop Workshop was funded by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media as part of “NEUSTART KULTUR.”

Dates


past dates:
July 01-03, 2021, Nowy Teatr, Warschau

Oratorio

A collective meditation on a well-kept secret
Foto: Benjamin Krieg
Foto: Katrin Ribbe / Theaterformen Hannover
Foto: Katrin Ribbe / Theaterformen Hannover
Foto: Katrin Ribbe / Theaterformen Hannover
Foto: Katrin Ribbe / Theaterformen Hannover
Foto: Katrin Ribbe / Theaterformen Hannover
Foto: Maciej Rukasz / Centrum Kultury w Lublinie
Foto: Maciej Rukasz / Centrum Kultury w Lublinie
Foto: Ruzhin | ACT Independent Theatre Festival 2017
Foto: Benjamin Krieg / HAU Berlin
Foto: Benjamin Krieg / HAU Berlin
Foto: Benjamin Krieg / HAU Berlin
Foto: Benjamin Krieg / HAU Berlin
Foto: Robin Junicke / Impulse Theaterfestival 2018
Foto: Robin Junicke / Impulse Theaterfestival 2018
Foto: Robin Junicke / Impulse Theaterfestival 2018
Foto: Robin Junicke / Impulse Theaterfestival 2018
Foto: Robin Junicke / Impulse Theaterfestival 2018

“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 chorus 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. First showings took place at Theaterformen 2017 in Hanover and sub- sequently also at the Konfrontacje Teatralne Festival in Lublin and the ACT Independent Theatre Festival Sofia. Finally ORATORIO returned from its tour through Europe, during which it gathered momentary impressions of other economic microcosms and evolved into a great polyphonic meditation at each stop along the way.

Credits

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 production: Ruschka Steininger. Dramaturgical advice: Peggy Mädler. Artistic advice Tour: Laia Ribera, Alisa Tretau. Technical Director & Lightdesign: Sven Nichterlein. Production: Anne Brammen. Communication: ehrliche arbeit – freies Kulturbüro. Freelance Communication Support: Tina Ebert. Financial 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, Residenz Schauspiel Leipzig, Schauspiel Stuttgart, Kaserne Basel, ACT Independent Theater Festival Sofia, Konfrontacje Teatralne Festival Lublin.

premiere, February 2018, HAU Hebbel am Ufer, Berlin

Funded by the German Federal Cultural Foundation and by the City of Berlin – Department for Culture and Europe.
www.kulturstiftung-des-bundes.de

Trailer

Dates

June 01/02, 2022, E-Werk Freiburg Festival, Freiburg

past dates:
January 14/15/16, 2021, Le Maillon Theater of Strasbourg – European stage, Straßburg CANCELLED
May 23/24, 2020, Freiburg Festival, Freiburg ggf. POSTPONED
May 16/17, 2020, Oldenburgisches Staatstheater / Bandenfestival, Oldenburg ggf. POSTPONED
April 7/8/9, 2020, Le Maillon Theater of Strasbourg – European stage, Straßburg POSTPONED (Januar 2021)
December 13/14/15, 2019, Schauspiel Leipzig, Leipzig
October 3/4, 2019, HAU, Berlin
May 10/12/13/14, 2019, HAU, Berlin
March 28/29/30, 2019, FFT, Düsseldorf
March 2/3, 2019, Brechtfestival, Augsburg
February 8/9/10, 2019, Kampnagel, Hamburg
January 10/11/12, 2019, Santiago a Mil, Santiago de Chile
November 9/10, 2018, Festival Politik im Freien Theater, München
October 3/4, 2018, HAU, Berlin
September 30, 2018, HAU, Berlin
September 1/2, 2018, Mousonturm, Frankfurt am Main
August 31, 2018, Mousonturm, Frankfurt am Main
June 23/24, 2018, Schauspiel Stuttgart, Stuttgart
June 14/15, 2018, Impulse Theater Festival, Mühlheim
May 24/25/26, 2018, Kaserne Basel, Basel
April 18/19/20, 2018, Münchner Kammerspiele, München
March 23/24/25, 2018, HAU, Berlin
March 9/10/12/13/14, 2018, Schauspiel Leipzig, Leipzig
February 10/11/12, 2018, HAU, Berlin
February 9, 2018, HAU, Berlin
November 14, 2017, ACT Independent Theater Festival Sofia, Sofia
October 6/7, 2017, Konfrontacje Teatralne Festival Lublin, Lublin
June 9/10/11, 2017, BALLHOF EINS, Hannover

Dates

June 01/02, 2022, E-Werk Freiburg Festival, Freiburg

Press

Oratorio gives no answers – but many suggestions – as to how to progress and the choruses offer a guide to collective self-empowerment. So, that’s a good start!”
Andrej Holm, Nachtkritik, 13.05.19

All in all, “Oratorio” is a triumph of experimental performance: it democratises the space of the theatre to tap into a pressing public discourse, it blows up the concept of passive entertainment by highlighting our collective complicity in capitalistic property relations, and it delivers an inspiring show of solidarity in the process. But, aware of its own formal limitations, it ends on a self-critical, yet optimistic note. Question: what use is all of this? Answer: it’s a rehearsal for what’s to come. As the evening comes to a close and my neighbour and I return to our divergent economic realities, I feel that we both leave the theatre with a heightened sensibility for the nuances of property relations. And that’s a testament to a powerful, political performance. Bertie would approve.
Nicholas Potter, Theatertreffen-Blog 2019, 12.05.19

“It’s both the right place – here, in this city up for sale – and the right time to venture an experiment like this with the audience. The right topics – money, property privileges, power, values, community, expectations of theatre audiences – are brought up. The right questions are asked in light of the current situation of housing shortages, exploding rents, temporary employment contracts and exclusionary, right-shifting social structures. And this is the right way to ask them: humorously, not smugly and not with a disapproving undertone. In short: this is the right way to make theatre (collective, equal, de-hierarchised).”
Dilan Zuhal Capan, Theatertreffen-Blog 2019, 11.05.19

The production is at its strongest when it involves the audience, who speak and react to the texts on display in interaction with the performers. For example, when all the heirs are asked to say on stage what they will inherit and to add up the total sum of their inheritances. The time-honoured rule “Never talk about money” is rendered null and void, and the viewer becomes voyeur. When a man states that he is going to inherit a house with a garden in Sachsenhausen, a murmur goes through the audience: these Frankfurters know what his property is worth. “Oratorio” appeals to the moral responsibility of property-owners, but the production also reveals the contradictions of individual apartment owners, and so avoids one-sided moralising. By using the audience as a chorus, it shows that the distribution of property is not just a private matter, but a social one.”
Grete Götze, Frankfurter Rundschau, 03.09.2018

In “Oratorio” no political positions are stated; instead, the different actors illustrate different economic starting points. (…) In fact, this has an important role in the performance: for it is up to each individual to take part in the actions of the chorus and to alternate with the performers in texts projected and so, to out oneself. There is also something liturgical about this (…) from the protected space of the theatre (…), as indicated in the production’s subheading, what emerges is a meditation in which polyphonic groups and chants, the chorus of delegates as representatives of the social region, a chorus of heirs, but also individual voices are raised and bring up questions on the subject of property – well known ones, sometimes moralising, but always worth considering.
Badische Zeitung, 25.05. 2018

In general, “Oratorio” is highly entertaining from the very first second … not only because there are a few clever ideas that affect everyone on stage and in the gallery. But because nowadays one rarely experiences anyone, in cheerful severity, really trying to take Bertolt Brecht’s Lehrstücke as a model for form, word and music. Lehrstücke, because everyone can learn something, and because there is basically no audience. Which is why all those who took part in the three Frankfurt performances had no small part in the success of the choir.”
Eva-Maria Magel, FAZ, 03.09.2018

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 resemblance questions, which are otherwise mostly left in the hands of the media. In this way, the theater tries to preserve its freedom, distinguishing itself. So, in the general chorus of theatrical practices from the recent decades, She She Pop is certainly part it.“
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 “Oratorio” – 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 … ”
Kreiszeitung, 15.06.17

Besessen

A collective monologue

People are obsessed with ideas – but also with things. For the Monologue Festival, She She Pop follows the idea of ownership, which has become an eerily important subject in people’s coexistence: if you have nothing, you have to hire yourself out. But even those who own too much, so people say, become obsessed by it. There it is: the community of the possessed.
She 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. A community that is concerned about ownership and the resulting distortions. In speech, it confirms itself, yet establishes that it is at odds with itself.

Credits

By She She Pop (Sebastian Bark, Johanna Freiburg, Fanni Halmburger, Lisa Lucassen, Mieke Matzke, Ilia Papatheodorou und Berit Stumpf.) Artistic advice: Ruschka Steininger. PR: ehrliche arbeit – freies Kulturbüro. Freelance Communication Support: Tina Ebert. Financial Administration: Aminata Oelßner. Company Management:Elke Weber.

A production by She She Pop and Theaterdiscounter – Monologue Festival 2016. Funded by Hauptstadtkulturfonds Berlin.

Dates

June 11, 2022, Hangö Teaterträff Finland, Hanko

past dates:
07/11/15Dezmeber, 2019, Litauisches Nationales Dramatisches Theater, Vilnius
September 07, 2019, at.tension Festival, Lärz
November 24, 2018, Festspielhaus Hellerau, Dresden
November 06, 2018, Litauisches Nationales Dramatisches Theater, Vilnius
July 1, 2017, Impulse Theaterfestival, Köln
June 30, 2017, Impulse Theaterfestival, Köln
October 29/30, 2016, Theaterdiscounter, Berlin

Dates

June 11, 2022, Hangö Teaterträff Finland, Hanko