Country Germany

Discipline Theater

Audience Adults

Recomended for +14

Duration 75 minutes

Language German with Spanish subtitles

Dates January 10 and 11, 20.30h / January 12, 18.00h

The surprise comes right at the beginning. Nothing has really happened yet on the dark stage. Just a text on the screen giving brief instructions, but they are so rousing that the audience’s mood turns into one only seen in cabaret or at carnivals. Do sceptics really still believe that the driving forces of post-dramatic theater lack empathy?

Berliner Zeitung

Property changes things. It divides friends, gives you power over others and excludes. Nothing has such a divisive effect on our community or is as important for social structures as this. With Oratorium, She She Pop, one of the most renowned and radical experimental theater companies in Germany, create a choral piece based on an everyday theme that is usually kept quiet. The piece talks of social division and discord and forces the audience to question their relationship with their possessions and their ideas of what is private and what is public. Based on Lehrstücktheorie by Bertold Brecht, a type of theater in which, among other things, there is no barrier between the actors and the audience, She She Pop put on a ground-breaking and daring performance. They use the audience as a choir and unleash a collective deliberation on property, something that no one wants to talk about; an uncomfortable and well-guarded secret.

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Direction

She She Pop

She She Pop is a female theater group that was founded in Germany at the end of the nineties. They create their shows as a group and include their own autobiographies as part of a trend in experimental theater. They are fully committed to exploring social systems and rituals, with their plays winning awards such as the Ubu Award in Italy. They have performed at important venues worldwide, such as the Théâtre de la Ville in Paris, as well as at important theaters and festivals in Germany and Europe.

By and with: She She Pop (Sebastian Bark, Johanna Freiburg, Fanni Halmburger, Lisa Lucassen, Mieke Matzke, Ilia Papatheodorou, Berit Stumpf) and the Chilean artists Valentina Parada Gallo, Ebana Garin, Valeria Germain, Ignacia Gonzalez, Mariela Mignot, Ignacio Tolorza | Text monologue of the audience de Santiago de Chile She She Pop and Paula Aros Gho | Live interpreter on stage Margit Schmoll | Sets Sandra Fox | Wardrobe Lea Søvsø | Music Max Knoth | Trumpet Sebastián Carrasco | Vibraphone Tomás Moreno | Artistic consultant Laia Ribera | Ruschka Steininger Theater consultant Peggy Maedler | Technical director and lighting designer Sven Nichterlein | Subtitles Panthea | Tour coordinator Laia Ribera | Public relations ehrliche arbeit – freelance office for culture Tour manager Tina Ebert | Administration Aminata Oelßner | Company manager Elke Weber.

Special thanks to Juan Anania, Oliver Gohl, Kar Heinz, Cristian Homazabal, Carolina Roa, Nora Röders, Leicy Esperanza Valenzuela and the Goethe-Institut of Santiago de Chile

A She She Pop production co-produced by HAU Hebbel am Ufer Berlin, the Theaterformen Festival, Münchner Kammerspiele, Kampnagel Hamburg, Schauspiel Leipzig, Schauspiel Stuttgart, Kaserne Basel, FFT Dusseldorf, Künstlerhaus Mousonturm, ACT Independent Theater Festival Sofia, Konfrontacje Teatralne Festival Lublin.

Financed by the German Federal Cultural Foundation and the City of Berlin – Department of Culture and Europe and the Goethe-Institutewww.kulturstiftung-des-bundes.de .

  • She She Pop are a fundamental part of European experimental theater. They belong to a group of artists whose aim is to reinvent creative theater processes and staging, incorporating their own autobiographies and experiences into their plays and taking privacy to the stage, blurring the lines between fiction and reality. A groundbreaking type of theater that is more conceptual than narrative, their pieces – dealing with topics such as sex or women’s place in history – include elements of artistic performance and not just traditional theatrical experiences. In a career spanning almost 30 years, this collective has created an adaptable kind of theater, able to adopt different forms and styles.

  • The idea of property – what is private and what is public, what is yours and what is mine – has interested She She Pop for years. In the collective monologue Besessen (2016), they explored the topic by examining the importance of property to social co-existence and in Testament (2010), they tackled the subject by focusing on the dilemma posed by inheritance, taking to the stage with their own parents.

  • About Oratorium, they say, "It is said that Western theater 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 privatized. We want to shed some light on the context of the bourgeois public, property and democratic empowerment".

  • It’s a play that, to a great extent, depends on audience participation. Like a choir, the spectators must read the lines that appear on the screen out loud in unison, becoming a character in the play itself.

  • After its premiere in February 2018, the collective performed the play at important venues in Germany and then toured Hungary, Poland, Switzerland and Mexico.
  • Post-dramatic theater. This term encompasses a type of theater that emerged in the sixties and which questions the notions of traditional theater, such as space, time and characters, deconstructing existing ideas of representation and narration. Fiction and reality blur onstage, words are forgotten and more conceptual styles and performances are developed, with elements from different artistic disciplines, such as music, the visual arts, poetry and dance co-existing. People such as Robert Wilson, Pina Bausch, Heiner Müller and Gertrude Stein are usually considered exponents of post-dramatic theater.

  • Bertold Brecht (1898-1956) was a German playwright and poet, considered one of the great revolutionaries of theater and one of the most influential characters in twentieth century performing arts. He was one of the great proponents of epic theater - the name given to the movement that, among other things, aimed to involve the audience - breaking down the barriers between actors and the audience and turning spectators into active members of the theatrical experience, thinking about and making sense of what they see. Brecht saw the theater as a forum in which political and social ideas could be put forward and debated, with modern theater forever changed thanks to his forward-thinking opinions and methods.

  • Lehrstücktheorie. This theory, developed by the famous German playwright Bertold Brecht is an experimental method that emerged in the twenties based on the idea of learning through acting, focusing on the theatrical process more than on the end result, as well as breaking down the barriers between actors and the audience. She She Pop has experimented for years with this technique in their plays.

«With Oratorium, She She Pop take a gamble for the first time and do a piece that, to a great extent, depends on audience participation. We can’t say much more though, since the project is based on the element of surprise»

Der Taggespieggel

«That’s how Brecht would have liked it»

Neueu Presse, Hannover

«The performance group from Berlin represents the kind of experimental theater that considers the stage a public place»

—Berliner Morgenpost

The surprise comes right at the beginning. Nothing has really happened yet on the dark stage. Just a text on the screen giving brief instructions, but they are so rousing that the audience’s mood turns into one only seen in cabaret or at carnivals. Do sceptics really still believe that the driving forces of post-dramatic theater lack empathy?

Berliner Zeitung

«With Oratorium, She She Pop take a gamble for the first time and do a piece that, to a great extent, depends on audience participation. We can’t say much more though, since the project is based on the element of surprise»

Der Taggespieggel

«That’s how Brecht would have liked it»

Neueu Presse, Hannover

«The performance group from Berlin represents the kind of experimental theater that considers the stage a public place»

—Berliner Morgenpost

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