ELISABETH REICHART

PRODUCTION 3 IN THE CYCLE

Premieres:
SOLO 1, Thurs., Nov. 8th, 8 pm
SOLO 2, Fri., Nov. 9th, 8 pm
SOLO 3, Sat., Nov. 10th, 8 pm
Group Performance, Sun., Nov. 11th, 8 pm

Performances:
Solo Performances: Thur. Nov. 15th, 22nd, , 29th, Dec. 6th, 13th
through Sat., Nov. 10th, 17th, 24th, Dec. 1st, 8th, 15th, 8 pm
Group Performances, each Sunday, Nov. 18th, 25th, Dec. 2nd, 9th and 15th, 8 pm

Audience Discussions each Sunday after the Performance

Director: Eva Brenner
Stage/Installation: Beat Zoderer (CH)
Assistance: Nicola Schenk
Music: Marcelo Gama
Dramaturgical Assistance: Elisabeth Bach
Performing artists: Beate Göbel, Clemens Matzka, Maren Rahmann
Costume Design: Maria Pointner
Lighting: Walter Lauterer
Movement Training: Claudia Heu
Guestperformance: Lore Heuermann

The Process:
For the first time there are four premieres, no evening is like the one before! The Ensemble is undertaking a risky theatrical-performative experiment of Construction, De-Construction and Re-Construction. Three Solo-Works will be presented on consecutive Evenings and brought together on the fourth day to constitute a spontaneous group-improvisation. Each Soloist is working out an individual textual-spatial-movement association to the text and is themes whereby influences of the collective work gradually affect each Solo. The final picture in space is developed in the last work-phase and continues to change thought the performance cycle. Thus, within five weeks of performance, each Solo itself undergoes a process of transformation - in reaction to the group and to the audience which is invited to freely roam the space and choose its perspective of viewing.

Concept:
Point of departure is an abstract spatial installation consisting of monochromatic color planes hung on a square grid from the ceiling – the art work of well-known Swiss artist/sculptor/architect Beat Zoderer is called “Fruits always hang high” and was first presented as part of the art exchange program CHinA Switzerland in Austria in May of 2001 (Projektraum WUK). Zoderer is adapting, changing, deepening his concept to match the theater process. The theatrical montage follows the principle of fragmentation and simultaneity of perception, the installation at once obstructs the full view or reveals new angles, unaccustomed perspectives, and trasholds to be crossed. Zoderer's free-floating color-planes function as multi-functional space-image, interactive sculpture, and static background for comics (cartoon-frames).

In his colorful yet atmospherically cool “Nowhereland” governed by geometry instead of nature a woman cruises as lonely protagonist: tired of romantic love, obsessed with technology and consumation, she oscillates between the “roles” of mother, daughter, grand-mother – as well as other female “roles” drawn from the actors’ biographies – rejects motherhood and the fading world of gods and goddesses which she takes for reality. The ancient Greek Goddess Aphrodite, born from the foaming sea, has lost her power over human fate, her play with fire degenerates to attitudes, her son and lover Amor has switched jobs to work on Wall Street….