| 1996/1997 mauser heiner müller, 7 months of rehearsal + 7 publications, klosterruine/podewil berlin (d) | july 1997 mauser 10 days of rehearsal + 1 publication, festival de verbier (ch) |
| mauser podgorica / hamburg |
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MAUSER theses (as of 1997)
MAUSER works on the separation of language and body, on a theatre without offering identification and illusion. MAUSER is rejecting the submission of the sound of language to interpretation. MAUSER is working physically in changing architectures without decoration, on open spatial constellations without the separation of the audience.
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claudia bosse, dominika duchnik, heike müller, silke rosenthal and as guest in june 97: andreas pronegg
berlin: 7 months of rehearsal + 7 publications, klosterruine/podewil
switzerland: 10 days of rehearsal + 1 publication, festival de verbier
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origin theatercombinat
at the beginning were 16 days and 8 people collaborating. to endeavour, to explore their means rather to recite already known. to think theatre differently, in its potentiality, to practise theatre as possibility of public collective practice. as luxury of work in the same time at the same place. as conjunction of physical, political and intellectual work. each of these 8 persons (from theatre and fine arts) conducted two days. the text was «mauser» by heiner müller – a notoriously both «stalinist» and counter-revolutionary declared play from 1970. a commentary/essay on the learning-play.
«the extreme is not the object of the play, but an example demonstrating the continuum of normality which is to be exploded. the theatre of individuals is based on the transfiguration of death in tragedy and on the repression of death in comedy. here, death is a function of life understood as production, a job among others, organised by the collective and organising the collective. SO THAT SOMETHING CAN COME SOMETHING MUST GO THE FIRST SHAPE OF HOPE IS FEAR THE FIRST MANIFESTATION OF THE NEW IS TERROR.»
(heiner müller)
these two days were organised by the person in charge in terms of time (from 2x1 hour up to 24 hours) and location (urban space, tv-tower, former soviet military areas in potsdam, podewil, etc.). everybody was at the disposal of the others. the aim was not to argue, but to react by one’s own proposals, discussing practically: «theatercombinat» understood as combination of potentials and means. 4-5 people decided to go ahead together. realising that texts contain thoughts and structures as «resistances». that verses, commas, full-stops need the breath and thoughts of the speaker and intervene in its body and mentality, provided that one accepts the texts as resisting material. |
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berlin
near alexanderplatz. ruins. foundation walls. no roof. rehearsals : 7 months. podewil, city of berlin (tv-tower, olympic stadion, underground passages, alexanderplatz, tegel-airport etc.)
7 performances: 1 week, 7 different public essays, with different beginning times - each day four hours later: 04.00h/08.00h/12.00h/16.00h/20.00h/24.00h/04.00h from june 20/1997.
verbier/ch
invitation by the «festival de verbier», july 1997. modern cableway-station, 1600 m above sea level. concrete. stored cabins, out of operation.
rehearsals: 10 days. from geneva arrive additionally barbara baker und maya boesch. we live together in a chalet above the station.
1 presentation. begin 22.00h. a ringer, usually a cook, sits half-naked in the snow in front of a cableway-pillar. he is supposed to work out his muscles every five minutes. police intervention after calls from neighbours. dancers from the festival-workshops take part, some become very active in the improvisation. the theatercombinat is operating in and working with different segments of the space simultaniously. maya boesch shouts, out from a technician hut behind glas, one line of the text, every ten minutes. almost exclusively upper class visitors wrapped in blankets move through the night in the cableway-station. end after midnight.
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www.theatercombinat.com theatrale produktion und rezeption |
