Winning project of the Regienachwuchswettbewerb 2020 (young stage direction contest) at Theater Erlangen / Vol. IV Umbrüche
documentary devised theatre, 2020, 120min, German and English
Theater Erlangen, premiere 12.09.20
supported by Goethe Institute Chile and Goethe Institute Hongkong
concept and directed by Anastasija Bräuniger
PROTEST 4 is trying to come closer to grasping what it means to decide to protest. Part of the research taking place before the rehearsal phase in Erlangen will consist in getting to know young protesters from Beirut, Santiago de Chile, Hong Kong as well as Erlangen via skype, telegram, mail, social media etc. PROTEST4 takes focus on the personal stories of the young protesters and their relation to the social movements. Through that lens we hope to make visible and come closer to understand the context in which the protests take place. Secondly, this perspective allows to make visible and experience the individual and shared protest cultures: the different and shared aesthetics, sounds, rituals etc.
The recurring basic question of PROTEST4 is: What would prompt me – actor, theatermaker, member of the audience – to take to the streets. What kind of circumstances, events, coincidences make a person change from being a (mere) observer to being an active protester? And what can we learn here from each other – geographical, national and cultural borders notwithstanding?
Extract from Nachtkritik / the Regienachwuchswettbewerb 2020 (young stage direction contest) jury's statement :
"The concept is convincing on several levels: It is theatrical, open to real encounters, pursues a concrete political approach yet manages to appear both playful and light. The concentrated energy, the uncompromising seriousness, the curiosity about other people and their lives and last but not least the humour of the submitted concept give hope for a project that manages to connect and enrich different people in different countries.”
with: Nina Lilith Völsch, Max Mehlhose-Löffler,
and ET, Paula Jael Gillmann, Bernard Hage, Amanda Tapia Levi
concept and dramaturgy: Linus Lutz
stage / costume / video: Louis Caspar Schmitt
music / sound: Josefine Lukschy und Alexander Meurer
text: ET, Paula Jael Gillmann, Bernard Hage, Amanda Tapia Levi, Nicolás Lange, Ensemble and others
filmic reading, 2020, 60min, German
Literaturhaus Berlin, premiere 05.05.20
directed by Anastasija Bräuniger and Justus Rothlaender
A film experiment with three actor/actresses, a camera and an empty house of literature.
With paradies hungern, the second part of Thomas Köck's Klimatrilogie, we question in an empty house and seemingly emptied Europe: What comes through to us, when we are occupied with our personal and national crises? How does Europe work when everyone is circling around themselves? In a staged reading, the actors/actresses move through the empty Literaturhaus, accompanied and followed by a camera.
The author and the artistic team comment on the reading in an open live chat ( youtube stream) on the 05.05.2020.
with: Judith Florence Ehrhardt, Katharina Leonore Goebel, Luis Quintana
text: Thomas Köck
dramaturgy Justus Rothlaender
camera: Andreas Hartmann
sound: Kai Ziarkowski
music / sound: Julius Pollux Rothlaender
Landschaft im Sturz / trailer 2019
full video 2019
interdisciplinary devised theatre, 2019, 80min, German
Bühne Unten Ernst Busch Berlin, premiere 08.12.2019
directed by: Anastasija Bräuniger
In Landschaft im Sturz we see an Icarus circling at the bottom of the sea long named after him. Around the abstract sculpture on the mirror-smooth stage and around himself. This Icarus questions his story, tries to remember, to make himself understood to us, and he rages. Who should hold the narration about what his flight and fall mean to us? Who tells us that we haven't always left some parts out? Perhaps the over centuries repeated story about the one who wants to fly higher and higher, who presumes to be the hero who overcomes all resistance and is punished for it, who falls and falls - perhaps this story overlooks the essential. The somewhat crooked mouth of Icarus, the time before the much sung about and supposedly failed heroic journey, the father, who himself always flew away from Brueghel's oil painting, while the son disappears into the sea. "Thanks, Pieter Brueghel, thanks! You must paint me, but then you paint me as a crazy bum who plops into a pond..."
Landschaft im Sturz reveals itself as an evening in seemingly disparate pictures - and in pictures of different disciplines - when we suddenly discover a naturalistic installation in the ebbing of the desperately comical monologue monolith of Icarus in our backs, behind the rows of seats. This is not a great myth of the world conquest, nor is it the meaningful emptiness of the seabed or the theatre stage: a simple living room, a narrowly defined space of an old woman - a relative? - who reads in her armchair, who quietly mumbles about what she has lost, sometimes looking out of the window into a landscape that may only vaguely coincide with what she remembers.
The following third picture of Landschaft im Sturz is again a completely different one, but perhaps it is a parenthesis: At first on the TV, but soon also on the big screen in the background of the stage, the astronaut appears in his capsule, fresh from the dream factory, with the right soundtrack, with the right radio messages. Is he the missing person? Whether he will carry out the attempt for which Icarus is atoning over there?
with: Christiane Bräuniger, Hannes Schumacher
text: David Heering
dramaturgy: Linus Lutz
stage / costume: Louis Caspar Schmitt
music / sound: Hoyoung Im
film: Leonard Frederic Caspari
sound: Kilian Funke
sound design film: Franziska Arndt
sound mix: Max Kersten
gratis design: Alesa Mustar