Cast: Julia Boxheimer, Yelikha Camera, Andrew Clarke, Sophia Lietsche, Laura Eichten, Jenny Kopf, Hannah Maneck, Josephine Nahrstedt, Thea Rasche, Katharina Tönsmann, Lea Uhle
Text and Direction: Hannah Rumstedt, Assistant Director: Pearl Graw, Production Management: David Heim, PR: Vincent Kadus, Dramaturgy: Julius Böhm, Live-Camera: Katharina Grählert, Video- & Sound Technician: Jakob Gerber, Boom Operator: Jonathan Frisch, Lights: Christoph Reinhardt , Costume: Franziska Müller, Stage: NIE Theater
In WIR SIND NICHT NETT (Part 2), the self-proclaimed “Big Bang of Culture Club” moves its mobile production office into the newly erected container landscape in front of the Haus der Statistik. This time, they are coming together again to produce a flop. “What are we doing here again?” — “We've sold ourselves out,” says the text. “And what is our mission?” — “Good ideas.” So the club members conscientiously try to come up with these “What are we doing here again?” — “We sold ourselves,” the text says. “And what is our mission?” — “Good ideas.” So the club members conscientiously try to develop these good ideas. They put themselves in extreme situations through role-playing. "Maximum Ideas Come From Maximum Stress" — that's the credo of this somewhat desperate approach, which sometimes involves bullshit bingo with political phrases, a barbecue, "Maximum Ideas Comes From Maximum Stress" — that's the credo of this somewhat desperate approach, which has them playing bullshit bingo with political phrases, a barbecue, or a plane crash. The themes revolve around self-determination, isolation, competition, and self-expectations.
The front yard of Karl-Marx-Allee at night forms an open-air public space. Sitting on a lawn, the audience follows the action via wireless headphones, hanging unusually close to every breath of the performers. This creates a cinematic intimacy — but at the same time, a feeling of abstract deficiency.
The front yard of Karl-Marx-Allee at night forms an open-air public space. Sitting on a lawn, the audience follows the action via wireless headphones, hanging unusually close to every breath of the performers. This creates a cinematic intimacy — but at the same time, a feeling of abstract deficiency.
Proben Eindrücke
Proben Eindrücke
v.l.: Josephine Nahrtstedt, Leah Uhle und Thea Rasche. Foto: ©Natalia Fornari
Andrew Clarke in der mobilen Bühne. Foto: ©Hannah Rumstedt
Gefördert vom Fonds Darstellende Künste aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien im Rahmen von NEUSTART KULTUR
