Country Germany

Discipline Theater

Audience Adults

Recomended for +14

Duration 120 minutes

Language German with Spanish subtitles

Dates January 4 and 5, 20.00h

Keywords Politics | Women

She She Pop opens the different drawers of Germany’s history (...) One of the most passionate shows out there at the moment

Le Monde

In Schubladen (Cajones), privacy becomes part of history: She She Pop, whose members were brought up in West Germany, come face to face on the stage with actresses who lived in East Germany. Using letters, photos, music, personal archives and newspaper clippings, all kept in drawers, they reconstruct their collective memory of the last 40 years. The drama of political, geographical and ideological division and subsequent German reunification are brought to the stage in a radically honest piece, in which the six protagonists delve into their autobiographies, memories and personal belongings to recount the country’s recent history from the perspective of women from the East and West. These private memories will be read out loud, recombined and questioned to create a touching polyphonic and profoundly subjective story from this exercise in memory. It’s a puzzle that, using memories, rebuilds what was, until recently, a shattered past. At the same time, She She Pop also stage their own declaration of feminism: what is personal is also political.

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Company

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.

Cast Annett Gröschner, Johanna Freiburg, Alexandra Lachmann, Berit Stumpf, Peggy Mädler, Ilia Papatheodorou | Concept She She Pop | With Sebastian Bark, Johanna Freiburg, Barbara Gronau, Annett Gröschner, Fanni Halmburger, Alexandra Lachmann, Katharina Lorenz, Lisa Lucassen, Mieke Matzke, Peggy Mädler, Ilia Papatheodorou, Wenke Seemann, Berit Stumpf and Nina Tecklenburg | Coordination - Artistic Assistant: Veronika Steininger, Laia Ribera | Dramaturgical Advice Kaja Jakstat | Stage Sandra Fox | Costumes Lea Søvsø | Light design / Stage director Sven Nichterlein | Light / Technical Direction Michael Lentner | Sound Jeff McGrory | Video Sandra Fox, Branka Pavlovic and Fanni Halmburger | PR ehrliche arbeit – freies kulturbüro | Surtitles PANTHEA / Anna Kasten | Organisation Tour Tina Ebert | Financial Administation Aminata Oelßner | Company Management Elke Weber

A She She Pop production. In Co-Production with the Hebbel am Ufer Berlin, Kampnagel Hamburg, FFT Düsseldorf and brut Wien.
Funded by the City of Berlin, the City of Hamburg, the Fonds Darstellende Künste e.V and the Rudolf Augstein Foundation.

  • 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.

  • At a time when feminism is stronger than ever, She She Pop are incredibly contemporary: the collective is made up of six women and a man, who isn’t at all bothered that the group calls itself ‘female’. At the heart of their creations is the very premise of feminist thought: what is personal is also political. Schubladen (Cajones), starring only actresses, is a narrative that is both private and collective, in which women’s social standing and the construction of their identity are key.

  • German reunification, one of the milestones that marked the end of the Cold War and of an ideologically polarized world, makes its presence felt in the play, in a story that puts memory - understood as something ever-changing, individual and emotional - before history. The dialogue between different, opposing memories comes to describe a polyphonic, touching and heterogeneous past that deals with the fundamental topic of societies divided by ideology, such as Germany or Chile.

  • Schubladen (Cajones) has been performed worldwide, touring Europe and Asia and countries such as France, Germany, Switzerland, Belgium, Italy, South Korea and Japan to critical acclaim. The play was nominated for a prestigious Ubu Award in Italy for Best Foreign Production.
  • 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.

  • Biodrama. This concept refers to drama created using autobiographies. According to the Argentine theater director Vivi Tellas, one of the people who came up with the term, it’s about exploring one’s own autobiography or that of someone else as possible dramatic material. Unlike documentary theater, texts and documents are not used but rather the personal experiences of people who are still alive.

  • Documentary theater. This concept goes back to the second half of the twentieth century, when there was an interest in bringing political and historical themes to the stage, thus blurring the lines between fiction and reality. This kind of theater not only uses documents but also collects testimonies, presenting not only the facts themselves but also a more intimate, touching and personal side to the story.

  • German reunification. After Germany’s defeat in the Second World War, the allied forces agreed to split up German territory, creating the Federal Republic of Germany (FRG) or West Germany with a capitalist regime and the Germany Democratic Republic (GDR) or East Germany under the influence of the Soviet Union and socialism. This division lasted for around four decades until 1989 and the fall of the Berlin Wall, when a series of political and social changes initiated the reunification process.

«It’s both captivating and fun to see how history - a touching story - is created through private details that create meaning and, in particular, question both the education and role of women»

Le Monde

«The most important event of the late twentieth century - German reunification - becomes something that reflects individual identities (...) In times of theatrical experimentation, the result is extremely interesting»

La Reppublica

«In Schubladen, She She Pop continue their series involving autobiographical research, which – after the huge success of their play Testament, which involved their parents — has become a genre in itself nowadays»

Süddeutsche Zeitung, Munich

She She Pop opens the different drawers of Germany’s history (...) One of the most passionate shows out there at the moment

Le Monde

«It’s both captivating and fun to see how history - a touching story - is created through private details that create meaning and, in particular, question both the education and role of women»

Le Monde

«The most important event of the late twentieth century - German reunification - becomes something that reflects individual identities (...) In times of theatrical experimentation, the result is extremely interesting»

La Reppublica

«In Schubladen, She She Pop continue their series involving autobiographical research, which – after the huge success of their play Testament, which involved their parents — has become a genre in itself nowadays»

Süddeutsche Zeitung, Munich

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