Theater HochX, Munich, November 3 – 6, 2020
Throwing a stone is a criminal offense. Throwing 1000 stones is a political action. – Ulrike Meinhof
Fire A 1000 Poems occupies Munich’s Theater HochX from November 3rd to 6th. Over the course of a week, the theater will be turned into a discourse space that can only be entered by five spectators. The starting point is former political prisoner Tim Blunk’s experience of solitary confinement at USP Marion. Locked down and separated from other prisoners, he discovered art as a means of ensuring his physical, psychological, and political survival. Through art-based correspondence, Tim connected with other political prisoners around the world.
Concept and idea: Michael Grossmann | Evening director: Jacqueline Reddington | Dramaturgy: Stella Grossmann | Cast: Tim Blunk, Paul Brody, Katharina Heißenhuber, Stefan Merki | Musicians: Paul Brody, Katharina Heißenhuber, Oliver Klenk | Compositions: Paul Brody, Reiko Füting, Sunbin Kim | Texts: Tim Blunk, Paul Brody, Michael Grossmann | VR videos: Michael Gebendorfer | Videos: Tim Blunk, Michael Gebendorfer, Michael Grossmann | Live video: Michael Gebendorfer | Photography: Denice Breaux, Rae Breaux, Rowin Breaux | MAZ technology: Christian Felder | Panel discussion moderation: Dr. Johanna Zorn
The isolation of the individual is transferred to the locking out of the audience. In the afternoons, five spectators are invited to a walk-in installation with reading, live concert and VR.
Video installation let in. For the discussions and readings at 8 p.m. (Central European Time,) the room is only accessible via live stream. What can be seen live and what is pre-produced, what is real and what is not, is blurred. A discursive examination of the political possibilities of art – not only in isolation.
Finally, on November 7th, there will be a panel discussion on the subject of art and politics.
The program for events, November 3 – 6 at Theater HochX (in German)
Stage Events and Musical Performances:
Stella Grossmann, Katharina Heißenhuber and Jacqueline Reddington have adapted the concept of the individual in total isolation onto a newscaster in a deserted area who is suddenly abandoned by her crew and loses connection to the main studio, leaving her isolated from the rest of the world. In an attempt to regain connection and to keep control over the situation, she continues to broadcast her episodes daily but eventually runs out of content, making her broadcasts more and more absurd the longer she stays alone. We see the newscaster on stage listening to her episodes since she was left alone and thinking/reflecting about her own situation, choices and handling of isolation.
Katharina Heißenhuber performs 9 Songs, composed by Reiko Füting and partly accompanied by Oliver Klenk, clarinet.
When composing, I generally do not think about categories. But it was different for this project: I wanted to write songs. And I wanted to call them songs as I wanted them to be direct and immediate. Generally, I am interested in composing interpretative spaces. But for the project I was interested in the pure power of the word, as I experienced it in the texts which touched me directly and immediately at my first encounter.
– Reiko Füting
Sunbin Kim’s composition deals with communication, distancing and alienation. It is loosely programmatic and drawn from two times and places (West Germany in late 1977, the United States in mid 2020). In this time, communication has become ever more distant, both physically and mentally. Human beings are social creatures, they need social bonds just as they need food and water. Many young working people seek second- or third-hand sources of sociality, they visit ASMR channels Youtube to fill the lack of intimacy, they form one-sided attachments with internet celebrities to fill a lack of real friendship, twitter fills the gap of talking to people. Kim’s piece will explore three „levels“ of communication as translated to music: real performance (live musicians), semblance of a performance (recordings, of both composed and quoted music), and artificial imitation of music with no performance at all (VST / MIDI sequencing). Reality is stifled and artificiality dominates. The theatrics of the piece depicts the desire, and indeed need, to perform after all, so the real music – the real message again and again creeps to the surface, but struggles to break out under the second- and third-hand layers. It will be performed by Katharina Heißenhuber (vocals) and Oliver Klenk (clarinet).
Livestreaming Links for Each Session:
Times listed below are Central European Time. (6 hours ahead of EST in November.)
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