Kaïros (Gr.) means the most convenient, decisive moment for doing something successful. The union of consciousness and the subconscious. To be in Kaïros means to be in tune with wholeness. This idea shows the importance of time. From this vision of a «convenient moment», director Oskar Gómez Mata seizes the opportunity to develop a new piece of work. In “Kaïros”, the scenes are a playful poetic escape in which a fundamental question is posed: “What are we actually doing here?” An invitation to make holes in reality, holes in time, holes of possibility, holes of opportunity. Will we be able through these holes to see time spherically rather than chronologically? L’Alakran present all of this to us with liberating spite. 

WITH Oskar Gómez Mata, Michèle Gurtner, Esperanza López, Olga Onrubia, Valerio Scamuffa, David Valère DIRECTION Oskar Gómez Mata ASSISTANT Delphine Rosay DRAMATURGY Oskar Gómez Mata, Esperanza López TEXT Oskar Gómez Mata, Esperanza López SOUND DESIGN Serge Amacker VIDEO Régis Golay SET DESIGN  Chine Curchod, Régis Golay LIGHT DESIGN Michel Faure COSTUMES Isa Boucharlat PHOTO Régis Golay PREMIERE Espacio de la Merced, Festival BAD, Bilbao 10/2008 PRODUCTION Cie L’Alakran, Comédie de Genève COPRODUCTION L’espace Malraux, Scène nationale de Chambéry et de la Savoie; Festival BAD, Bilbao; Théâtre du Grand Marché, Centre dramatique de l’Océan Indien; L’Arsenic, centre d’art scénique contemporain, Lausanne; Les Subsistances, Lyon SUPPORT Pro Helvetia; Organe genevois de repartition de la Loterie Romande; Pour-Cent culturel Migros. La Compagnie L’Alakran bénéficie du soutien de la République et du Canton de Genève et du Département de la Culture de la Ville de Genève. INTERNET www.alakran.ch

Cie L’Alakran 
L’Alakran create comic, philosophical, although always poetic pieces. The political context in terms of a critical stance is closely linked with the artistic project: to scrutinize the relationship between the individual and the community without trying to come up with answers or ideologies, establishes a new relationship between the audience and the stage.

Kaïros (Gr.) means the most convenient, decisive moment for doing something successful. The union of consciousness and the subconscious. To be in Kaïros means to be in tune with wholeness. This idea shows the importance of time. From this vision of a «convenient moment», director Oskar Gómez Mata seizes the opportunity to develop a new piece of work. In “Kaïros”, the scenes are a playful poetic escape in which a fundamental question is posed: “What are we actually doing here?” An invitation to make holes in reality, holes in time, holes of possibility, holes of opportunity. Will we be able through these holes to see time spherically rather than chronologically? L’Alakran present all of this to us with liberating spite. 

WITH Oskar Gómez Mata, Michèle Gurtner, Esperanza López, Olga Onrubia, Valerio Scamuffa, David Valère DIRECTION Oskar Gómez Mata ASSISTANT Delphine Rosay DRAMATURGY Oskar Gómez Mata, Esperanza López TEXT Oskar Gómez Mata, Esperanza López SOUND DESIGN Serge Amacker VIDEO Régis Golay SET DESIGN  Chine Curchod, Régis Golay LIGHT DESIGN Michel Faure COSTUMES Isa Boucharlat PHOTO Régis Golay PREMIERE Espacio de la Merced, Festival BAD, Bilbao 10/2008 PRODUCTION Cie L’Alakran, Comédie de Genève COPRODUCTION L’espace Malraux, Scène nationale de Chambéry et de la Savoie; Festival BAD, Bilbao; Théâtre du Grand Marché, Centre dramatique de l’Océan Indien; L’Arsenic, centre d’art scénique contemporain, Lausanne; Les Subsistances, Lyon SUPPORT Pro Helvetia; Organe genevois de repartition de la Loterie Romande; Pour-Cent culturel Migros. La Compagnie L’Alakran bénéficie du soutien de la République et du Canton de Genève et du Département de la Culture de la Ville de Genève. INTERNET www.alakran.ch

Cie L’Alakran 
L’Alakran create comic, philosophical, although always poetic pieces. The political context in terms of a critical stance is closely linked with the artistic project: to scrutinize the relationship between the individual and the community without trying to come up with answers or ideologies, establishes a new relationship between the audience and the stage.

“Text to speech” is a computer programme in which the written language has been transformed into spoken word. Texts from the Internet, voices, music, sound vibrations and the projection of images onto screens are all part of Gilles Jobin’s choreography creating unique and poetic scenery in which concrete, vivid images move between reality and their distortion: a plot between humour and discomfort. With astute abstraction and hypnotic poetry, the choreographer scrutinises the effects of current news on the audience, their bodies and their psyches. 

WITH Jean-Pierre Bonomo, Gilles Jobin, Richard Kaboré, Sung-Im Kweon, Susana Panadès Diaz, Rudi Van der Merwe CHOREOGRAPHY Gilles Jobin MUSIC Cristian Vogel TEXT SOURCES Wikipedia / Internet, rewritten by / réécrits par Gilles Jobin and Jean-Pierre Bonomo SCENOGRAPHY Gilles Jobin CONSTRUCTION OF TABLES Victor Roy LIGHT DESIGN Daniel Demont SYNTHETIC VOICES Alice, Bruno, Claire, Graham, Louise, Peter, Pierre PHOTO Dorothée Thébert PREMIERE Bonlieu Scène nationale, Annecy 03/2008 PRODUCTION Cie Gilles Jobin COPRODUCTION Bonlieu Scène nationale, Annecy; Théâtre de la Ville, Paris; Dampfzentrale Bern SUPPORT Ville de Genève; Canton de Genève; Pro Helvetia; La Loterie Romande; Acapela Group. Gilles Jobin is an associated artist of Bonlieu Scène nationale, Annecy INTERNET www.gillesjobin.com

Gilles Jobin
Gilles Jobin is one of the most important choreographers in Switzerland’s present dance scene. He has thrilled over 100,000 spectators in more than 23 countries, among them: Argentina, Belgium, Brazil, Germany, England, Finland, France, Holland, Italy, Korea, Croatia, Mozambique, Austria, Poland, Portugal, Spain, South Africa, Czech Republic, Tunisia etc.

“Text to speech” is a computer programme in which the written language has been transformed into spoken word. Texts from the Internet, voices, music, sound vibrations and the projection of images onto screens are all part of Gilles Jobin’s choreography creating unique and poetic scenery in which concrete, vivid images move between reality and their distortion: a plot between humour and discomfort. With astute abstraction and hypnotic poetry, the choreographer scrutinises the effects of current news on the audience, their bodies and their psyches. 

WITH Jean-Pierre Bonomo, Gilles Jobin, Richard Kaboré, Sung-Im Kweon, Susana Panadès Diaz, Rudi Van der Merwe CHOREOGRAPHY Gilles Jobin MUSIC Cristian Vogel TEXT SOURCES Wikipedia / Internet, rewritten by / réécrits par Gilles Jobin and Jean-Pierre Bonomo SCENOGRAPHY Gilles Jobin CONSTRUCTION OF TABLES Victor Roy LIGHT DESIGN Daniel Demont SYNTHETIC VOICES Alice, Bruno, Claire, Graham, Louise, Peter, Pierre PHOTO Dorothée Thébert PREMIERE Bonlieu Scène nationale, Annecy 03/2008 PRODUCTION Cie Gilles Jobin COPRODUCTION Bonlieu Scène nationale, Annecy; Théâtre de la Ville, Paris; Dampfzentrale Bern SUPPORT Ville de Genève; Canton de Genève; Pro Helvetia; La Loterie Romande; Acapela Group. Gilles Jobin is an associated artist of Bonlieu Scène nationale, Annecy INTERNET www.gillesjobin.com

Gilles Jobin
Gilles Jobin is one of the most important choreographers in Switzerland’s present dance scene. He has thrilled over 100,000 spectators in more than 23 countries, among them: Argentina, Belgium, Brazil, Germany, England, Finland, France, Holland, Italy, Korea, Croatia, Mozambique, Austria, Poland, Portugal, Spain, South Africa, Czech Republic, Tunisia etc.

Why are there no princes in Switzerland, actually? Fritz, Franz and Ferdinand are to blame. Because of their cocky behaviour, the triplet princes have been magically turned into cockerels. Only the kiss of a genuine princess can save them. The three set off on an adventurous trip to a fairytale world. There is danger on the horizon: Little Red Riding Hood’s wolf is right on their heels and is ravenous for poultry… Will Fritz, Franz and Ferdinand make it or will they remain cockerels forever? Theater Gustavs Schwestern presents a captivatingly absurd new puppet show. 

WITH Jacqueline Surer, Sibylle Grüter DIRECTION Priska Praxmarer DRAMATURGY Theater Gustavs Schwestern TEXT Jacqueline Surer, Sibylle Grüter SCENOGRAPHY Theater Gustavs Schwestern SET DESIGN Peter Affentranger LIGHT DESIGN Daniel Meier PHOTO Martin Volken PREMIERE Theater Stadelhofen, Zürich 01/2008 PRODUCTION Theater Gustavs Schwestern INTERNET www.gustavsschwestern.ch

Theater Gustavs Schwestern
Theater Gustavs Schwestern was founded in 2005 by Sibylle Grüter and Jacqueline Surer. They met in 2002 whilst taking a postgraduate course in puppetry at the Hochschule für Musik und Theater (HMT) Zürich. The aim of this Zurich puppetry team is to stage new and unconventional puppet shows for children and adults.

Why are there no princes in Switzerland, actually? Fritz, Franz and Ferdinand are to blame. Because of their cocky behaviour, the triplet princes have been magically turned into cockerels. Only the kiss of a genuine princess can save them. The three set off on an adventurous trip to a fairytale world. There is danger on the horizon: Little Red Riding Hood’s wolf is right on their heels and is ravenous for poultry… Will Fritz, Franz and Ferdinand make it or will they remain cockerels forever? Theater Gustavs Schwestern presents a captivatingly absurd new puppet show. 

WITH Jacqueline Surer, Sibylle Grüter DIRECTION Priska Praxmarer DRAMATURGY Theater Gustavs Schwestern TEXT Jacqueline Surer, Sibylle Grüter SCENOGRAPHY Theater Gustavs Schwestern SET DESIGN Peter Affentranger LIGHT DESIGN Daniel Meier PHOTO Martin Volken PREMIERE Theater Stadelhofen, Zürich 01/2008 PRODUCTION Theater Gustavs Schwestern INTERNET www.gustavsschwestern.ch

Theater Gustavs Schwestern
Theater Gustavs Schwestern was founded in 2005 by Sibylle Grüter and Jacqueline Surer. They met in 2002 whilst taking a postgraduate course in puppetry at the Hochschule für Musik und Theater (HMT) Zürich. The aim of this Zurich puppetry team is to stage new and unconventional puppet shows for children and adults.

First thing in the morning, there is already a long queue of people in Lili Plume’s lost and found office. They have lost all kinds of things: the fat lady her waistline, a child its front-door key, someone is looking for warmth and comfort, and someone has even lost their head! Many are grieving over their lost items and shed tears. And all of them hope to get lucky in the lost and found office. With a lot of imagination and sensitivity, Lili Plume finds something for all of her customers that makes them happy again... even if it is not at all what they have been looking for. How Lili Plume makes people happy, whilst getting sadder herself; what the shipwrecked captain is looking for in her lost and found office; what does Lili eventually lose herself, whilst finding her smile again, is all told to you when you visit Lili’s kingdom of lost items. 

The puppeteer and actress, Kathrin Leuenberger is founder of the “Figurentheater Lupine”. Working with different artists every time, Kathrin Leuenberger primarily creates puppet shows for a younger audience. For “Lili Plume”, she worked with Frauke Jacobi, who is briefly presented in text on Dalang Puppencompany.  

WITH Kathrin Leuenberger DIRECTION Frauke Jacobi MUSIC Simon Hostettler COSTUMES Katharina Baldauf SET DESIGN Kathrin Leuenberger PHOTO Manu Friederich PRODUCTION Figurentheater Lupine COPRODUCTION Schlachthaus Theater Bern; Theater Tuchlaube, Aarau INTERNET www.figurentheaterlupine.ch

First thing in the morning, there is already a long queue of people in Lili Plume’s lost and found office. They have lost all kinds of things: the fat lady her waistline, a child its front-door key, someone is looking for warmth and comfort, and someone has even lost their head! Many are grieving over their lost items and shed tears. And all of them hope to get lucky in the lost and found office. With a lot of imagination and sensitivity, Lili Plume finds something for all of her customers that makes them happy again... even if it is not at all what they have been looking for. How Lili Plume makes people happy, whilst getting sadder herself; what the shipwrecked captain is looking for in her lost and found office; what does Lili eventually lose herself, whilst finding her smile again, is all told to you when you visit Lili’s kingdom of lost items. 

The puppeteer and actress, Kathrin Leuenberger is founder of the “Figurentheater Lupine”. Working with different artists every time, Kathrin Leuenberger primarily creates puppet shows for a younger audience. For “Lili Plume”, she worked with Frauke Jacobi, who is briefly presented in text on Dalang Puppencompany.  

WITH Kathrin Leuenberger DIRECTION Frauke Jacobi MUSIC Simon Hostettler COSTUMES Katharina Baldauf SET DESIGN Kathrin Leuenberger PHOTO Manu Friederich PRODUCTION Figurentheater Lupine COPRODUCTION Schlachthaus Theater Bern; Theater Tuchlaube, Aarau INTERNET www.figurentheaterlupine.ch

The spectator’s cell-phone is ringing. A voice orders him to observe a person named Black. The voice puts the observer via cell-phone on the track. The observer follows Black to different locations in the city. The city and its everyday life increasingly transform into a backdrop – reality’s credibility is at stake. The voice in the observer’s ears is like a stranger’s request at times, and at others like a commentary of the observer’s movements and perceptions – almost as though the observer was talking to himself, as if it were his own inner voice he was unswervingly listening to. In the process, the observer digs deeper and deeper into the city, into the story, into Black. The observer gradually gets sucked into a maelstrom of his cognitive stroll and is therefore increasingly the focus of his own concerns: the observer becomes the main character in the film taking place in his own head. 

WITH Miriam Fiordeponti, Sascha Gersak, Wowo Habdank, Dominique Müller, Andrea Schmid, Luc Müller DIRECTION Bernhard Mikeska ASSISTANCE Charlotte von Bausznern TEXT Paul Auster DRAMATURGY Andreas Regelsberger SOUND DESIGN Martin Wigger SCENOGRAPHY Bernhard Mikeska, Dominic Huber, Andreas Regelsberger SET DESIGN Dominic Huber LIGHT DESIGN Christa Wenger COSTUMES Esther Krapiwnikow PHOTO Lisa Biedlingsmaier TECHNICAL ASSISTANCE Jan Goettgens PREMIERE Theaterhaus Gessnerallee, Zürich 10/2007 PRODUCTION mikeska:plus:blendwerk COPRODUCTION Theaterhaus Gessnerallee Zürich SUPPORT Präsidialdepartement der Stadt Zürich; Fachstelle Kultur Kanton Zürich; Pro Helvetia; Ernst Göhner Stiftung; Migros Kulturprozent INTERNET www.bernhardmikeska.de, www.blendwerk.ch

mikeska:plus:blendwerk
mikeska:plus:blendwerk consists of Bernhard Mikeska and Dominic Huber. After completing his doctorate in theoretical physics, Bernhard Mikeska now works as an independant director. Dominic Huber works as a stage designer after having graduated as an architect. The team works regularly with blendwerk co-founder, Christa Wenger (light and video) and actors from Zurich.

The spectator’s cell-phone is ringing. A voice orders him to observe a person named Black. The voice puts the observer via cell-phone on the track. The observer follows Black to different locations in the city. The city and its everyday life increasingly transform into a backdrop – reality’s credibility is at stake. The voice in the observer’s ears is like a stranger’s request at times, and at others like a commentary of the observer’s movements and perceptions – almost as though the observer was talking to himself, as if it were his own inner voice he was unswervingly listening to. In the process, the observer digs deeper and deeper into the city, into the story, into Black. The observer gradually gets sucked into a maelstrom of his cognitive stroll and is therefore increasingly the focus of his own concerns: the observer becomes the main character in the film taking place in his own head. 

WITH Miriam Fiordeponti, Sascha Gersak, Wowo Habdank, Dominique Müller, Andrea Schmid, Luc Müller DIRECTION Bernhard Mikeska ASSISTANCE Charlotte von Bausznern TEXT Paul Auster DRAMATURGY Andreas Regelsberger SOUND DESIGN Martin Wigger SCENOGRAPHY Bernhard Mikeska, Dominic Huber, Andreas Regelsberger SET DESIGN Dominic Huber LIGHT DESIGN Christa Wenger COSTUMES Esther Krapiwnikow PHOTO Lisa Biedlingsmaier TECHNICAL ASSISTANCE Jan Goettgens PREMIERE Theaterhaus Gessnerallee, Zürich 10/2007 PRODUCTION mikeska:plus:blendwerk COPRODUCTION Theaterhaus Gessnerallee Zürich SUPPORT Präsidialdepartement der Stadt Zürich; Fachstelle Kultur Kanton Zürich; Pro Helvetia; Ernst Göhner Stiftung; Migros Kulturprozent INTERNET www.bernhardmikeska.de, www.blendwerk.ch

mikeska:plus:blendwerk
mikeska:plus:blendwerk consists of Bernhard Mikeska and Dominic Huber. After completing his doctorate in theoretical physics, Bernhard Mikeska now works as an independant director. Dominic Huber works as a stage designer after having graduated as an architect. The team works regularly with blendwerk co-founder, Christa Wenger (light and video) and actors from Zurich.

“Theater Sgaramusch” brings texts and stories written by children about wolves and their favourite things, to the stage. “Foofwa d'Imobilité” proves with humour that physical taboos have preoccupied artists forever. Through film and discussion, the group around Verena E. Weiss promotes collective dance and questions the German economic boom. The quartet of authors, Andreas Debatin, Matto Kämpf, Pedro Lenz and Raphael Urweider devotes itself to Swiss topics, developing a new form of popular theatre. “Watzdameyer” has made a name for itself with absurd performances at the interface between music and drama. “Schauplatz International” are specialists in documentary theatre who, whilst looking for the perfect protagonist, discover human beings taking second place to values, material things. 

The Fabriktheater Rote Fabrik is a place for artistic experiments and concentrates on dialogue between disciplines, stimulating transdisciplinary projects. Transdisciplinary here means the cooperation of different genres, as well as the combination of artistic, scientific and socio-relevant cognition and presentation modes.

THEATER SGARAMUSCH «Wolf unterm Bett» (Children and youth theatre) WITH Nora Vonder Mühll, Stefan Colombo, Olifr Maurmann DIRECTION Carol Blanc SET DESIGN Britta Hagen INTERNET www.sgaramusch.ch FOOFWA D’ IMOBILITE «LaréduQ» (Dance) WITH Ruth Childs, Foofwa dit MobilitÈ, Isabelle Rigat, Pauline Wassermann CONCEPT Foofwa d'Imobilité & Antoine Lengo INTERNET www.foofwa.com VERENA E. WEISS «vergiss' Deutschland» (Dance) WITH Annmi von Löw, Kaspar Weiss, Sven Seeger, Verena E. Weiss, Suvi Westerberg, Jasmin Phasuk ANDREAS DEBATIN, MATTO KÄMPF, PEDRO LENZ, RAPHAEL URWEIDER «Billi dr Bueb» & «Robinson» (Theatre ) SCHAUPLATZ INTERNATIONAL «Mascots are alive» (Theatre) INTERNET www.schauplatzinternational.net WATZDAMEYER «watzdameyer präsentiert watzdameyer» (Theatre) WITH Jesko Stubbe & Simon Dellsperger INTERNET www.watzdameyer.ch PHOTO «LaréduQ» by Cédric Vincensini

“Theater Sgaramusch” brings texts and stories written by children about wolves and their favourite things, to the stage. “Foofwa d'Imobilité” proves with humour that physical taboos have preoccupied artists forever. Through film and discussion, the group around Verena E. Weiss promotes collective dance and questions the German economic boom. The quartet of authors, Andreas Debatin, Matto Kämpf, Pedro Lenz and Raphael Urweider devotes itself to Swiss topics, developing a new form of popular theatre. “Watzdameyer” has made a name for itself with absurd performances at the interface between music and drama. “Schauplatz International” are specialists in documentary theatre who, whilst looking for the perfect protagonist, discover human beings taking second place to values, material things. 

The Fabriktheater Rote Fabrik is a place for artistic experiments and concentrates on dialogue between disciplines, stimulating transdisciplinary projects. Transdisciplinary here means the cooperation of different genres, as well as the combination of artistic, scientific and socio-relevant cognition and presentation modes.

THEATER SGARAMUSCH «Wolf unterm Bett» (Children and youth theatre) WITH Nora Vonder Mühll, Stefan Colombo, Olifr Maurmann DIRECTION Carol Blanc SET DESIGN Britta Hagen INTERNET www.sgaramusch.ch FOOFWA D’ IMOBILITE «LaréduQ» (Dance) WITH Ruth Childs, Foofwa dit MobilitÈ, Isabelle Rigat, Pauline Wassermann CONCEPT Foofwa d'Imobilité & Antoine Lengo INTERNET www.foofwa.com VERENA E. WEISS «vergiss' Deutschland» (Dance) WITH Annmi von Löw, Kaspar Weiss, Sven Seeger, Verena E. Weiss, Suvi Westerberg, Jasmin Phasuk ANDREAS DEBATIN, MATTO KÄMPF, PEDRO LENZ, RAPHAEL URWEIDER «Billi dr Bueb» & «Robinson» (Theatre ) SCHAUPLATZ INTERNATIONAL «Mascots are alive» (Theatre) INTERNET www.schauplatzinternational.net WATZDAMEYER «watzdameyer präsentiert watzdameyer» (Theatre) WITH Jesko Stubbe & Simon Dellsperger INTERNET www.watzdameyer.ch PHOTO «LaréduQ» by Cédric Vincensini

Since its inception, Cie 7273 has focused on the question of music and dance. What is the role of music on stage? Should it illustrate dance, accompany it, or remain independent from it? Can you use popular music for a dance performance; should it be live or digital? Do we want harmony, dissonant sounds, or better still peace and quiet? In “Laï Laï Laï Laï”, Cie 7273 attempts to put a band together. What would it be like as a dancer to behave just like a passionate folk singer? Laurence Yadi and Nicolas Cantillon venture into what is still unknown territory. Whereas up until now they have only communicated their bodily doctrine visually to us, they have now taken over our ears. A self-mocking piece for a group of four musicians who are in fact dancers. 

WITH Alexandre Joly, Nicolas Cantillon, Régis Marduel, Laurence Yadi CHOREOGRAPHY Laurence Yadi, Nicolas Cantillon, Alexandre Joly, Régis Marduel GUITAR & SONG Nicolas Cantillon SOUND ENVIRONMENT Alexandre Joly LIGHT DESIGN Jean-Philippe Roy COSTUMES Mathilde Gallay Keller, Maria Galve PICTURE Michel Cavalca PREMIERE Les Subsistances, Lyon 04/2008 PRODUCTION Compagnie 7273 COPRODUCTION Les Subsistances, Lyon; O Espaco do Tempo, Montemor-o-novo, Portugal; Dampfzentrale Bern; Gessnerallee Zürich SUPPORT Pro Helvetia; Etat de Genève, Département de l’instruction publique; Ville de Genève, Département des affaires culturelles; Loterie romande; DRAC Rhône-Alpes; Stanley Thomas Johnson Foundation; Adami; Spedidam; Conseil Général de la Haute-Savoie et Fondation Corymbo; mediathek tanz.ch INTERNET www.cie7273.com

Cie 7273
Cie 7273 – the name of the group represents the years in which Laurence Yadi and Nicolas Cantillon were born. In 2003, the two choreographers surprised the dance scene with their first piece “La vision du lapin”, already making a name for themselves internationally with their first efforts. Their performances are impressive due to their concept, clarity and consistency.

Since its inception, Cie 7273 has focused on the question of music and dance. What is the role of music on stage? Should it illustrate dance, accompany it, or remain independent from it? Can you use popular music for a dance performance; should it be live or digital? Do we want harmony, dissonant sounds, or better still peace and quiet? In “Laï Laï Laï Laï”, Cie 7273 attempts to put a band together. What would it be like as a dancer to behave just like a passionate folk singer? Laurence Yadi and Nicolas Cantillon venture into what is still unknown territory. Whereas up until now they have only communicated their bodily doctrine visually to us, they have now taken over our ears. A self-mocking piece for a group of four musicians who are in fact dancers. 

WITH Alexandre Joly, Nicolas Cantillon, Régis Marduel, Laurence Yadi CHOREOGRAPHY Laurence Yadi, Nicolas Cantillon, Alexandre Joly, Régis Marduel GUITAR & SONG Nicolas Cantillon SOUND ENVIRONMENT Alexandre Joly LIGHT DESIGN Jean-Philippe Roy COSTUMES Mathilde Gallay Keller, Maria Galve PICTURE Michel Cavalca PREMIERE Les Subsistances, Lyon 04/2008 PRODUCTION Compagnie 7273 COPRODUCTION Les Subsistances, Lyon; O Espaco do Tempo, Montemor-o-novo, Portugal; Dampfzentrale Bern; Gessnerallee Zürich SUPPORT Pro Helvetia; Etat de Genève, Département de l’instruction publique; Ville de Genève, Département des affaires culturelles; Loterie romande; DRAC Rhône-Alpes; Stanley Thomas Johnson Foundation; Adami; Spedidam; Conseil Général de la Haute-Savoie et Fondation Corymbo; mediathek tanz.ch INTERNET www.cie7273.com

Cie 7273
Cie 7273 – the name of the group represents the years in which Laurence Yadi and Nicolas Cantillon were born. In 2003, the two choreographers surprised the dance scene with their first piece “La vision du lapin”, already making a name for themselves internationally with their first efforts. Their performances are impressive due to their concept, clarity and consistency.

They are between 7 and 14 years old, sons and daughters of multinational executives – or victims of wars and catastrophes. These wealthy, cosmopolitan children and these illegal immigrant children have something in common: they live in small, temporary communities that imitate families. How does this new kind of nomad experience influence them? How do they view the world? In whose reality do they develop? Their presence confronts us with surprising reflections. “At certain times, the children allow themselves to ignore laws. They say: If there’s a war, I’ll wear 6 pullovers on top of each other so that knives and bullets won’t hurt me.” (Stefan Kaegi) “They say children always tell the truth. But perhaps they are so good at lying you can’t differentiate between lies and the truth.” (Lola Arias) 

WITH Oussama Braun, Patrick Bruttin, Aline Lidia De Mello Morais, Kristina Kovalevskaya, Julien Ho, Garima Manek, Clyde Philippoz, Sarah Serafim, Juliette Scialpi DIRECTION Lola Arias, Stefan Kaegi DRAMATURGY Florian Malzacher TEXT Lola Arias, Stefan Kaegi MUSIC Stéphane Vecchione VIDEO Bruno Deville ASSISTANCE Fabienne Rossier, Boris Brüderlin SCENOGRAPHY Dominic Huber LIGHT DESIGN Christophe Glanzmann, David Perez PHOTO Mario Del Curto PREMIERE Théâtre Vidy, Lausanne 06/2008 PRODUCTION Théâtre Vidy, Lausanne COPRODUCTION Festival d’Avignon 2008; Hebbel-am-Ufer, Berlin; Theater Chur; Le-Maillon, Théâtre de Strasbourg-Scène européenne SUPPORT Pour-cent culturel Migros for the creation / pour la création and Pro Helvetia for the tour / pour la tournée INTERNET www.rimini-protokoll.de

Stefan Kaegi and his group Rimini Protokoll, are considered to be the inventors of a new “Reality Trend” on stage. They focus on people, specialists of a particular theme, who are not actors. Lola Arias is an author, singer, actress and director. Her latest pieces investigate the borders between reality and fiction.

They are between 7 and 14 years old, sons and daughters of multinational executives – or victims of wars and catastrophes. These wealthy, cosmopolitan children and these illegal immigrant children have something in common: they live in small, temporary communities that imitate families. How does this new kind of nomad experience influence them? How do they view the world? In whose reality do they develop? Their presence confronts us with surprising reflections. “At certain times, the children allow themselves to ignore laws. They say: If there’s a war, I’ll wear 6 pullovers on top of each other so that knives and bullets won’t hurt me.” (Stefan Kaegi) “They say children always tell the truth. But perhaps they are so good at lying you can’t differentiate between lies and the truth.” (Lola Arias) 

WITH Oussama Braun, Patrick Bruttin, Aline Lidia De Mello Morais, Kristina Kovalevskaya, Julien Ho, Garima Manek, Clyde Philippoz, Sarah Serafim, Juliette Scialpi DIRECTION Lola Arias, Stefan Kaegi DRAMATURGY Florian Malzacher TEXT Lola Arias, Stefan Kaegi MUSIC Stéphane Vecchione VIDEO Bruno Deville ASSISTANCE Fabienne Rossier, Boris Brüderlin SCENOGRAPHY Dominic Huber LIGHT DESIGN Christophe Glanzmann, David Perez PHOTO Mario Del Curto PREMIERE Théâtre Vidy, Lausanne 06/2008 PRODUCTION Théâtre Vidy, Lausanne COPRODUCTION Festival d’Avignon 2008; Hebbel-am-Ufer, Berlin; Theater Chur; Le-Maillon, Théâtre de Strasbourg-Scène européenne SUPPORT Pour-cent culturel Migros for the creation / pour la création and Pro Helvetia for the tour / pour la tournée INTERNET www.rimini-protokoll.de

Stefan Kaegi and his group Rimini Protokoll, are considered to be the inventors of a new “Reality Trend” on stage. They focus on people, specialists of a particular theme, who are not actors. Lola Arias is an author, singer, actress and director. Her latest pieces investigate the borders between reality and fiction.

Simone Aughterlony‘s examination of the best and worst in mankind is diverse, colourful and humorously light. It therefore stands to reason that it is not just about individuals, but also about the community, cliques and groups. Good as well as bad characteristics are primarily displayed in contact with the others. Therefore in her new work, Simone Aughterlony focuses on the different forms of group dynamics. With enigmatic humour, she and four other performers illustrate through dance and speech, how people strive to swim along in a collective swarm, or how they try to break free. A playful and cheerful attempt to approximate group laws and the characteristics of individuals attempting to be humans. 

WITH Simone Aughterlony, Phil Hayes, Nicholas Lloyd, Kate McIntosh, Thomas Wodianka CHOREOGRAPHY  Simone Aughterlony DRAMATURGY Fiona Wright CONSULTATION Laura Kalauz MUSIC COMPOSER Marcel Blatti MUSICIANS Monika Baer, Renate Steinmann, Martin Zeller, Mathias Weibel SCENOGRAPHY Nadia Fistarol LIGHT DESIGN Christa Wenger PHOTO Christian Glaus PREMIERE Theaterhaus Gessnerallee, Zürich 02/2008 PRODUCTION Roger Merguin – Verein für allgemeines Wohl COPRODUCTION Productiehuis Rotterdam (Rotterdamse Schouwburg); Theaterhaus Gessnerallee Zürich; Hebbel am Ufer Berlin; Dampfzentrale Bern SUPPORT Pro Helvetia; Fachstelle Kultur Kanton Zürich; Präsidialdepartement der Stadt Zürich; Hauptstadtkulturfonds Berlin; SSA – société suisse des auteurs INTERNET www.aughterlony.com

Simone Aughterlony
A New Zealander living in Zurich, Simone Aughterlony investigates in her work the relationship between experiences made and the communication of these experiences through various forms of (re)presentation. The investigation often leads to a strictly formal cataloging whereby the protagonists unremittingly try to understand the limits of their mental and physical states.

Simone Aughterlony‘s examination of the best and worst in mankind is diverse, colourful and humorously light. It therefore stands to reason that it is not just about individuals, but also about the community, cliques and groups. Good as well as bad characteristics are primarily displayed in contact with the others. Therefore in her new work, Simone Aughterlony focuses on the different forms of group dynamics. With enigmatic humour, she and four other performers illustrate through dance and speech, how people strive to swim along in a collective swarm, or how they try to break free. A playful and cheerful attempt to approximate group laws and the characteristics of individuals attempting to be humans. 

WITH Simone Aughterlony, Phil Hayes, Nicholas Lloyd, Kate McIntosh, Thomas Wodianka CHOREOGRAPHY  Simone Aughterlony DRAMATURGY Fiona Wright CONSULTATION Laura Kalauz MUSIC COMPOSER Marcel Blatti MUSICIANS Monika Baer, Renate Steinmann, Martin Zeller, Mathias Weibel SCENOGRAPHY Nadia Fistarol LIGHT DESIGN Christa Wenger PHOTO Christian Glaus PREMIERE Theaterhaus Gessnerallee, Zürich 02/2008 PRODUCTION Roger Merguin – Verein für allgemeines Wohl COPRODUCTION Productiehuis Rotterdam (Rotterdamse Schouwburg); Theaterhaus Gessnerallee Zürich; Hebbel am Ufer Berlin; Dampfzentrale Bern SUPPORT Pro Helvetia; Fachstelle Kultur Kanton Zürich; Präsidialdepartement der Stadt Zürich; Hauptstadtkulturfonds Berlin; SSA – société suisse des auteurs INTERNET www.aughterlony.com

Simone Aughterlony
A New Zealander living in Zurich, Simone Aughterlony investigates in her work the relationship between experiences made and the communication of these experiences through various forms of (re)presentation. The investigation often leads to a strictly formal cataloging whereby the protagonists unremittingly try to understand the limits of their mental and physical states.

By its very nature, the family is held together by terror. The children of the earliest theatricals tragedies, Orest and Electra, experience the fact that the terror between parents and children can only be surpassed by postfamilial terror: when brothers and sisters have taken their places and tear each other apart. Shakespeare‘s royal drama uses the Lear’s family party as a point of departure during which everything revolves around a single question: inheritance, a very contemporary theme. In her production, Barbara Weber goes back and forth between bloody scenes from King Lear and family therapy, quoting other extended families along the way: a fast and bold performance. 

WITH Michael Haves, Rahel Hubacher, Yvon Jansen, Anne Ratte-Polle, Sebastian Rudolph DIRECTION Barbara Weber DRAMATURGY Mathias Lilienthal, Max-Philip Aschenbrenner TEXT Barbara Weber & Ensemble nach William Shakespeare MUSIC Michael Haves LIGHT DESIGN Hans Leser SCENOGRAPHY Janina Audick SET DESIGN Janina Audick COSTUMES Janina Audick PHOTO Barbara Braun PREMIERE brut im Künstlerhaus, Wiener Festwochen, 06/2008 PRODUCTION brut im Künstlerhaus, Wien für Wiener Festwochen COPRODUCTION Hebbel am Ufer, Berlin; Theater Neumarkt, Zürich SUPPORT Haupstadtkulturfonds Berlin, Familie-Vontobel-Stiftung INTERNET www.barbaraweber.ch

Barbara Weber
Barbara Weber studied directing in Hamburg and formed her own theatre company in 2001. Barbara Weber is known for her «unplugged» evening projects; putting on stage major themes using little means and a lot of imagination, she deals with Hollywood myths like “Star Wars”, celebrities like Michael Jackson or even the Red Army Faction.

Is it possible to tell a gripping story without saying one word? Yes, it is! For Ohne Rolf, talking is about scrolling – through placards; they “converse” with each other in a bizarre world that looks similar to ours. Their placards are an alienating reflection in which we recognise ourselves – sometimes alarming, but always with a smile. Now the duo scrolls its placards onto the next chapter: Ohne Rolf come by an offspring – “Schreibhals”, a keen little writer has its say! The second programme promises silent nonsense. Everyday paperwork takes on hilarious, surprising dimensions. There is laughter between the lines. You listen with your eyes. The duo manages to get the audience to hold its breath right up until the last minute and they pull off their stunt by using 1000 placards, each one with short sentences printed on them. 

WITH Cristof Wolfisberg, Jonas Anderhub CONCEPT Cristof Wolfisberg, Jonas Anderhub DIRECTION Dominique Müller DRAMATURGY Dominique Müller PHOTO Ohne Rolf PRODUCTION Barbara Anderhub

Ohne Rolf
Ohne Rolf tried their placard idea for the first time in 1999: they set themselves up motionless on the streets, holding up a piece of A4 paper in front of them, with the following written on it: “There’s nothing to see here”. The more they tried to persuade passersby not to look at them, the greater the interest their audience showed. Then they knew an idea was born!

Twice a year, the short-piece-platform 12 MIN. MAX., in cooperation with an expert and the Tanzhaus Zürich offers professional dancers and performers the possibility to present a new concept, an idea for a piece, an experiment or a work in progress. The brevity of the pieces which are at the most 12 minutes long results in a rich performances programme. For this «12 MIN.MAX. spezial» Bo Wiget and Simone Aughterlony will choose and accompany the pieces. 

Tanzhaus Zürich is Switzerland’s only dance centre. Many city-sponsored dance productions are developed here. Training in contemporary and classical dance techniques takes place daily. Tanzhaus Zürich is an officially recognised event location for contemporary dance and furthermore, it provides dancers with extensive information and advice.

In “Artifact”, William Forsythe dissects the vocabulary of classical ballet and reassembles individual movements into a new language. By doing so, he modifies the sequences of movements of classical ballet. He skips individual sections, whilst constructing new arrangements. Forsythe’s perception of dance is not a story of movements, but a story of relations: “In my work, relations are new. The individual movements remain the same in every ballet, and have always been so.” It is about the history of ballet as an art form, about exhausting limits and searching for new, contemporary movements. Considered to be work in progress, “Artifact” has witnessed diverse mutations since its premiere in 1984. The audience can therefore look forward to how dancers of the Zurich Ballet stand up to the challenge. 

WITH Margot Kazimirska (Piano), Kate Strong (Actress / Actrice), Nicholas Champion (Actor / Acteur) , Zürcher Ballett CHOREOGRAPHY William Forsythe MUSIC Johann Sebastian Bach, Ferruccio Busoni, Eva Crossman-Hecht SET DESIGN William Forsythe PHOTO Peter Schnetz WORLD PREMIERE Opernhaus Frankfurt/Main 12/1984 PREMIERE Opernhaus Zürich 08/2008 SUPPORT Davidoff, UBS - Partner des Zürcher Balletts

Heinz Spoerlis Zürcher Ballet 
Under the direction of Heinz Spoerli, 40 dancers from around the world form Switzerland’s largest ballet company, a permanent ensemble of the Zurich Opera House. Together with Heinz Spoerli, the Zurich Ballet has managed to thrill an ever-growing audience not just in Switzerland, but also worldwide.

Andorra is a microstate that in wartime is threatened by a fascist regime, whose troops are deployed on Andorra’s its borders. The fascists pursue Jews. The Andorrans are not anti-Semite. There is no Jewish population in Andorra, except for Andri, a young boy believed to be Jewish whose presumed religion proves to be his fate. 

Andorra is fictional and does not represent the microstate bearing the same name, nor does it refer to another small country with a different name. Max Frisch defined Andorra as a name for a “model”, i.e. For him, it is not about events that took place in the past, but rather about events that could happen at any given time. 

“Dedicated to the Schauspielhaus Zürich in friendship and with gratitude” (Max Frisch on Andorra, 1961) 

DIRECTION Matthias Fontheim DRAMATURGY Andreas Erdmann TEXT Max Frisch SET DESIGN Johannes Schütz COSTUMES Johannes Schütz PHOTO Schauspielhaus by Georg Aerni PREMIERE Schauspielhaus Zürich, 11/2008

By its very nature, the family is held together by terror. The children of the earliest theatricals tragedies, Orest and Electra, experience the fact that the terror between parents and children can only be surpassed by postfamilial terror: when brothers and sisters have taken their places and tear each other apart. Shakespeare‘s royal drama uses the Lear’s family party as a point of departure during which everything revolves around a single question: inheritance, a very contemporary theme. In her production, Barbara Weber goes back and forth between bloody scenes from King Lear and family therapy, quoting other extended families along the way: a fast and bold performance. 

WITH Michael Haves, Rahel Hubacher, Yvon Jansen, Anne Ratte-Polle, Sebastian Rudolph DIRECTION Barbara Weber DRAMATURGY Mathias Lilienthal, Max-Philip Aschenbrenner TEXT Barbara Weber & Ensemble nach William Shakespeare MUSIC Michael Haves LIGHT DESIGN Hans Leser SCENOGRAPHY Janina Audick SET DESIGN Janina Audick COSTUMES Janina Audick PHOTO Barbara Braun PREMIERE brut im Künstlerhaus, Wiener Festwochen, 06/2008 PRODUCTION brut im Künstlerhaus, Wien für Wiener Festwochen COPRODUCTION Hebbel am Ufer, Berlin; Theater Neumarkt, Zürich SUPPORT Haupstadtkulturfonds Berlin, Familie-Vontobel-Stiftung INTERNET www.barbaraweber.ch

Barbara Weber
Barbara Weber studied directing in Hamburg and formed her own theatre company in 2001. Barbara Weber is known for her «unplugged» evening projects; putting on stage major themes using little means and a lot of imagination, she deals with Hollywood myths like “Star Wars”, celebrities like Michael Jackson or even the Red Army Faction.

Is it possible to tell a gripping story without saying one word? Yes, it is! For Ohne Rolf, talking is about scrolling – through placards; they “converse” with each other in a bizarre world that looks similar to ours. Their placards are an alienating reflection in which we recognise ourselves – sometimes alarming, but always with a smile. Now the duo scrolls its placards onto the next chapter: Ohne Rolf come by an offspring – “Schreibhals”, a keen little writer has its say! The second programme promises silent nonsense. Everyday paperwork takes on hilarious, surprising dimensions. There is laughter between the lines. You listen with your eyes. The duo manages to get the audience to hold its breath right up until the last minute and they pull off their stunt by using 1000 placards, each one with short sentences printed on them. 

WITH Cristof Wolfisberg, Jonas Anderhub CONCEPT Cristof Wolfisberg, Jonas Anderhub DIRECTION Dominique Müller DRAMATURGY Dominique Müller PHOTO Ohne Rolf PRODUCTION Barbara Anderhub

Ohne Rolf
Ohne Rolf tried their placard idea for the first time in 1999: they set themselves up motionless on the streets, holding up a piece of A4 paper in front of them, with the following written on it: “There’s nothing to see here”. The more they tried to persuade passersby not to look at them, the greater the interest their audience showed. Then they knew an idea was born!

Twice a year, the short-piece-platform 12 MIN. MAX., in cooperation with an expert and the Tanzhaus Zürich offers professional dancers and performers the possibility to present a new concept, an idea for a piece, an experiment or a work in progress. The brevity of the pieces which are at the most 12 minutes long results in a rich performances programme. For this «12 MIN.MAX. spezial» Bo Wiget and Simone Aughterlony will choose and accompany the pieces. 

Tanzhaus Zürich is Switzerland’s only dance centre. Many city-sponsored dance productions are developed here. Training in contemporary and classical dance techniques takes place daily. Tanzhaus Zürich is an officially recognised event location for contemporary dance and furthermore, it provides dancers with extensive information and advice.

In “Artifact”, William Forsythe dissects the vocabulary of classical ballet and reassembles individual movements into a new language. By doing so, he modifies the sequences of movements of classical ballet. He skips individual sections, whilst constructing new arrangements. Forsythe’s perception of dance is not a story of movements, but a story of relations: “In my work, relations are new. The individual movements remain the same in every ballet, and have always been so.” It is about the history of ballet as an art form, about exhausting limits and searching for new, contemporary movements. Considered to be work in progress, “Artifact” has witnessed diverse mutations since its premiere in 1984. The audience can therefore look forward to how dancers of the Zurich Ballet stand up to the challenge. 

WITH Margot Kazimirska (Piano), Kate Strong (Actress / Actrice), Nicholas Champion (Actor / Acteur) , Zürcher Ballett CHOREOGRAPHY William Forsythe MUSIC Johann Sebastian Bach, Ferruccio Busoni, Eva Crossman-Hecht SET DESIGN William Forsythe PHOTO Peter Schnetz WORLD PREMIERE Opernhaus Frankfurt/Main 12/1984 PREMIERE Opernhaus Zürich 08/2008 SUPPORT Davidoff, UBS - Partner des Zürcher Balletts

Heinz Spoerlis Zürcher Ballet 
Under the direction of Heinz Spoerli, 40 dancers from around the world form Switzerland’s largest ballet company, a permanent ensemble of the Zurich Opera House. Together with Heinz Spoerli, the Zurich Ballet has managed to thrill an ever-growing audience not just in Switzerland, but also worldwide.

Andorra is a microstate that in wartime is threatened by a fascist regime, whose troops are deployed on Andorra’s its borders. The fascists pursue Jews. The Andorrans are not anti-Semite. There is no Jewish population in Andorra, except for Andri, a young boy believed to be Jewish whose presumed religion proves to be his fate. 

Andorra is fictional and does not represent the microstate bearing the same name, nor does it refer to another small country with a different name. Max Frisch defined Andorra as a name for a “model”, i.e. For him, it is not about events that took place in the past, but rather about events that could happen at any given time. 

“Dedicated to the Schauspielhaus Zürich in friendship and with gratitude” (Max Frisch on Andorra, 1961) 

DIRECTION Matthias Fontheim DRAMATURGY Andreas Erdmann TEXT Max Frisch SET DESIGN Johannes Schütz COSTUMES Johannes Schütz PHOTO Schauspielhaus by Georg Aerni PREMIERE Schauspielhaus Zürich, 11/2008

“When grandfather Fritz was as old as me, he tamed a wolf. My grandmother Charlotte wanted to be an opera singer and became a hairdresser. Grandfather Oskar left her because he loved Irene, a trollop. When I was seven, I packed my things and moved in with grandmother Lila and grandfather Ruben. Grandfather Ruben used to be a handsome man, now he’s bald. When grandmother let her hair down, it would hang down long and thin, just like a fairy. Or just like a ghost. Grandmother shrinks, I grow.” In “Damit ich dich besser sehen kann” (All the better to see you with) three grandchildren rummage around in old family albums and discover their grandparents. Stories of days gone by and of today, familiar and strange, snapshots of a long life. Scenes are re-enacted at great speed and with such exuberant imagination, that it is great fun – not just for the kids! 

WITH Frida Leon Béraud, Frauke Jacobi, Julius Griesenberg DIRECTION Beatrix Bühler MUSIC Simon Hostettler PHOTO Bernhard Fuchs INTERNET www.dalang.ch

Dalang Puppencompany
Frida Leon Béraud (actress) and Frauke Jakobi (musician) both studied puppetry at the «Ernst Busch» Drama College in Berlin. After gaining experience in direction, writing, scenography (Frauke Jakobi) and acting, street and movement theatre (Frida Leon Béraud), they founded the Dalang Puppencompany in 2004. 

“When grandfather Fritz was as old as me, he tamed a wolf. My grandmother Charlotte wanted to be an opera singer and became a hairdresser. Grandfather Oskar left her because he loved Irene, a trollop. When I was seven, I packed my things and moved in with grandmother Lila and grandfather Ruben. Grandfather Ruben used to be a handsome man, now he’s bald. When grandmother let her hair down, it would hang down long and thin, just like a fairy. Or just like a ghost. Grandmother shrinks, I grow.” In “Damit ich dich besser sehen kann” (All the better to see you with) three grandchildren rummage around in old family albums and discover their grandparents. Stories of days gone by and of today, familiar and strange, snapshots of a long life. Scenes are re-enacted at great speed and with such exuberant imagination, that it is great fun – not just for the kids! 

WITH Frida Leon Béraud, Frauke Jacobi, Julius Griesenberg DIRECTION Beatrix Bühler MUSIC Simon Hostettler PHOTO Bernhard Fuchs INTERNET www.dalang.ch

Dalang Puppencompany
Frida Leon Béraud (actress) and Frauke Jakobi (musician) both studied puppetry at the «Ernst Busch» Drama College in Berlin. After gaining experience in direction, writing, scenography (Frauke Jakobi) and acting, street and movement theatre (Frida Leon Béraud), they founded the Dalang Puppencompany in 2004. 

Depending on how you pronounce it, the Japanese word “Ningyo” can mean siren or puppet. “Nin” means human, “Gyo” fish. This creation by Nicole Seiler, deals through dance, video and music with the myth of Siren: half human, half animal, sometimes mermaid, sometimes snake or bird woman. Often described as dangerous, this mythical character seduces through singing and beauty: a fascinating legend, combining seduction with death, throwing us into the stirring waters of an ambivalent existence – like a Siren or a puppet. Beguilingly impressive imagery, pulsating music and intense lighting create a magic that deals with an attempt at the emancipation of the ambivalent femininity of the Siren. 

WITH YoungSoon Cho Jaquet CONCEPT Nicole Seiler DRAMATURGY Simona Travaglianti CHOREOGRAPHY Nicole Seiler, YoungSoon Cho Jaquet, Chiharu Mamiya MUSIC Letizia Renzini VIDEO Nicole Seiler, Vincent Deblue SCENOGRAPHY Julien Grob LIGHT DESIGN Stéphane Gattoni COSTUMES Claude Rueger PHOTO Nicole Seiler PREMIERE Schlachthaus-Festival Ouest-Est, Bern 03/2008 PRODUCTION Compagnie Nicole Seiler COPRODUCTION Arsenic Lausanne; Espace Nuithonie Villars-sur-Glâne; Schlachthaus Bern SUPPORT Ville de Lausanne; Etat de Vaud; Loterie Romande; Fondation Leenaards; Migros Kulturprozent INTERNET www.nicoleseiler.com

Cie Nicole Seiler
Choreographer Nicole Seiler founded her company in 2002. She creates multimedia dance performances, videos and choreographic installations. Dance and video often have the same importance. They become two inseparable means of expression that challenge each other and are in dialogue with one another.

Almost silently, a funnel-shaped glass vessel glides through the air, suspended from four wires, trickling fine sand on to the stage, until it gets caught somewhere. In the narrative performance “Die Uhr im Bauch” (The timepiece in the stomach) we discover what a man experiences in a medical institute, on the underground and on a platform. A perfectly normal story, you could say! Well, you could indeed say that before the performance. Perhaps you would be a bit more cautious after the performance. You would primarily be tempted to replace the term “normal” with some other word. But with which word exactly? “Die Uhr im Bauch” deals with the phenomenon of time. In a poetical manner, it depicts everyday observations in which the perspective is extraordinary, strange, and at the same time dead serious. 

WITH Jens Nielsen DIRECTION Jens Nielsen TEXT Jens Nielsen SCENOGRAPHY Jens Nielsen PHOTO Jens Nielsen PREMIERE Theater an der Winkelwiese, Zürich 03/2008 INTERNET http://www.winkelwiese.ch

Jens Nielsen
Whilst training as an actor at the Schauspiel Gemeinschaft Zürich, Jens Nielsen founded the performance theatre group “Die Engelmaschine” together with Aglaja Veteranyi. In cooperation with the independent group “Trainingslager”, he is currently working on a trilogy about families. Jens Nielsen works as an independent author, actor and speaker.

How do you tell the difference between a dead fly and a live one? What does a living entity have that a dead one does not have? Is it tangible nature that differentiates the two, or is it a condition? And why is the condition of the dead fly irreversible? Why is it not possible to bring back what has been left behind: life? Director and author, Lukas Bangerter transforms the stage into a Petri dish and the current status of robotics and biotechnology into a substance for dreamlike theatre images on the border between subject and object. Bangerter‘s laboratory assistants hope to achieve immortality whereby they overlook the fact that they make themselves superfluous. Shocked, they realise that they are inferior to the devices they have created and that they must appear as faulty designs when seen from the machines‘ perspective. 

WITH Jesko Stubbe, Jorgos Margaritis, Andreas Spaniol, Jan Ratschko, Junior Assis Noguiera, Martin Wigger DIRECTION Lukas Bangerter TEXT Lukas Bangerter DRAMATURGY Sarah Ross MUSIC Jan Ratschko, Martin Wigger SCENOGRAPHY Lukas Bangerter LIGHT DESIGN Patrik Rimann SPECIAL EFFECTS Walter Kenneth COSTUMES Petra Kenneth ASSISTANCE Tobias SET BUILDING Kurt Brun, Silvano Speranza Steiner PHOTO Dominique Meienberg PREMIERE Theaterhaus Gessnerallee, 06/2008 Zürich PRODUCTION Kathrin Spaniol, Walter Delazer COPRODUCTION Theaterhaus Gessnerallee Zürich SUPPORT Stadt Zürich Kultur; Fachstelle Kultur Kanton Zürich INTERNET www.plasmaplasma.ch

Plasma
Plasma research the limits between theatre, music and fine art, and create performances that are multilayered, meditative and yet are always clear and reduced in means. A focal point of Plasma’s work is the attempt to liberate language from its sole task of transporting information and to understand it as an acoustic phenomenon.

Depending on how you pronounce it, the Japanese word “Ningyo” can mean siren or puppet. “Nin” means human, “Gyo” fish. This creation by Nicole Seiler, deals through dance, video and music with the myth of Siren: half human, half animal, sometimes mermaid, sometimes snake or bird woman. Often described as dangerous, this mythical character seduces through singing and beauty: a fascinating legend, combining seduction with death, throwing us into the stirring waters of an ambivalent existence – like a Siren or a puppet. Beguilingly impressive imagery, pulsating music and intense lighting create a magic that deals with an attempt at the emancipation of the ambivalent femininity of the Siren. 

WITH YoungSoon Cho Jaquet CONCEPT Nicole Seiler DRAMATURGY Simona Travaglianti CHOREOGRAPHY Nicole Seiler, YoungSoon Cho Jaquet, Chiharu Mamiya MUSIC Letizia Renzini VIDEO Nicole Seiler, Vincent Deblue SCENOGRAPHY Julien Grob LIGHT DESIGN Stéphane Gattoni COSTUMES Claude Rueger PHOTO Nicole Seiler PREMIERE Schlachthaus-Festival Ouest-Est, Bern 03/2008 PRODUCTION Compagnie Nicole Seiler COPRODUCTION Arsenic Lausanne; Espace Nuithonie Villars-sur-Glâne; Schlachthaus Bern SUPPORT Ville de Lausanne; Etat de Vaud; Loterie Romande; Fondation Leenaards; Migros Kulturprozent INTERNET www.nicoleseiler.com

Cie Nicole Seiler
Choreographer Nicole Seiler founded her company in 2002. She creates multimedia dance performances, videos and choreographic installations. Dance and video often have the same importance. They become two inseparable means of expression that challenge each other and are in dialogue with one another.

Almost silently, a funnel-shaped glass vessel glides through the air, suspended from four wires, trickling fine sand on to the stage, until it gets caught somewhere. In the narrative performance “Die Uhr im Bauch” (The timepiece in the stomach) we discover what a man experiences in a medical institute, on the underground and on a platform. A perfectly normal story, you could say! Well, you could indeed say that before the performance. Perhaps you would be a bit more cautious after the performance. You would primarily be tempted to replace the term “normal” with some other word. But with which word exactly? “Die Uhr im Bauch” deals with the phenomenon of time. In a poetical manner, it depicts everyday observations in which the perspective is extraordinary, strange, and at the same time dead serious. 

WITH Jens Nielsen DIRECTION Jens Nielsen TEXT Jens Nielsen SCENOGRAPHY Jens Nielsen PHOTO Jens Nielsen PREMIERE Theater an der Winkelwiese, Zürich 03/2008 INTERNET http://www.winkelwiese.ch

Jens Nielsen
Whilst training as an actor at the Schauspiel Gemeinschaft Zürich, Jens Nielsen founded the performance theatre group “Die Engelmaschine” together with Aglaja Veteranyi. In cooperation with the independent group “Trainingslager”, he is currently working on a trilogy about families. Jens Nielsen works as an independent author, actor and speaker.

How do you tell the difference between a dead fly and a live one? What does a living entity have that a dead one does not have? Is it tangible nature that differentiates the two, or is it a condition? And why is the condition of the dead fly irreversible? Why is it not possible to bring back what has been left behind: life? Director and author, Lukas Bangerter transforms the stage into a Petri dish and the current status of robotics and biotechnology into a substance for dreamlike theatre images on the border between subject and object. Bangerter‘s laboratory assistants hope to achieve immortality whereby they overlook the fact that they make themselves superfluous. Shocked, they realise that they are inferior to the devices they have created and that they must appear as faulty designs when seen from the machines‘ perspective. 

WITH Jesko Stubbe, Jorgos Margaritis, Andreas Spaniol, Jan Ratschko, Junior Assis Noguiera, Martin Wigger DIRECTION Lukas Bangerter TEXT Lukas Bangerter DRAMATURGY Sarah Ross MUSIC Jan Ratschko, Martin Wigger SCENOGRAPHY Lukas Bangerter LIGHT DESIGN Patrik Rimann SPECIAL EFFECTS Walter Kenneth COSTUMES Petra Kenneth ASSISTANCE Tobias SET BUILDING Kurt Brun, Silvano Speranza Steiner PHOTO Dominique Meienberg PREMIERE Theaterhaus Gessnerallee, 06/2008 Zürich PRODUCTION Kathrin Spaniol, Walter Delazer COPRODUCTION Theaterhaus Gessnerallee Zürich SUPPORT Stadt Zürich Kultur; Fachstelle Kultur Kanton Zürich INTERNET www.plasmaplasma.ch

Plasma
Plasma research the limits between theatre, music and fine art, and create performances that are multilayered, meditative and yet are always clear and reduced in means. A focal point of Plasma’s work is the attempt to liberate language from its sole task of transporting information and to understand it as an acoustic phenomenon.

One November night, a young man veers off the road and finds refuge in an old house. Three women live there, three ghosts of a civil war. Death has turned them into goddesses and furies. What follows are the witches’ basics of civil war: “Die schwarze Kammer” (The black chamber) is a gothic opera and a zombie ball, Hollywood horror and fantasy story-telling of peace surrounded by wars. A collage of songs and stories of the wars of this world, this new production by Mass & Fieber captivates through sophisticated dramaturgy, density and precision. In this gothic musical play text, musical compositions and film excerpts form an equally unsettling as well as amusing and poetic ghost story. 

WITH Fabienne Hadorn, Malika Khatir, Nicole Steiner, Samuel Streiff, Martin Gantenbein, Markus Schönholzer DIRECTION Niklaus Helbling ASSISTANCE Katharina Wiss TEXT Brigitte Helbling, Niklaus Helbling MUSIC Martin Gantenbein, Markus Schönholzer VIDEO Elke Auer, Christina Peios SOUND Mike Hasler CHOREOGRAPHY Salome Schneebeli SCENOGRAPHY Dirk Thiele ASSISTANCE Christina Peios ARTWORK Thomas Rhyner LIGHT DESIGN Björn Salzer COSTUMES Judith Steinmann TECHNICAL DIRECTOR Peter Affentranger PHOTO Christina Peios PREMIERE Schlachthaus Theater, Bern 02/2008 PRODUCTION Stéphanie Jaquet COPRODUCTION Schlachthaus Theater Bern; Kaserne Basel; Theater Rigiblick Zürich SUPPORT Stadt Zürich Kultur; Fachstelle Kultur Kanton Zürich; Migros-Kulturprozent; Stanley Thomas Johnson Stiftung; Ernst Göhner Stiftung; Sophie und Karl Binding Stiftung; Georges und Jenny Bloch Stiftung; Zuger Kulturstiftung Landis & Gyr; Paul Schiller Stiftung; Dr. Adolf Streuli-Stiftung INTERNET www.massundfieber.ch

Mass & Fieber
Mass & Fieber was founded in 1996 by Niklaus Helbling, Martin Gantenbein and Walter Stulzer as a society for the promotion of anonymous fiction, gimmickry and the linking of all art forms. Since 1999, their own pieces and performances, CDs and radio plays have emerged using artists from the fields of music, theatre, video, dance and literature.

One November night, a young man veers off the road and finds refuge in an old house. Three women live there, three ghosts of a civil war. Death has turned them into goddesses and furies. What follows are the witches’ basics of civil war: “Die schwarze Kammer” (The black chamber) is a gothic opera and a zombie ball, Hollywood horror and fantasy story-telling of peace surrounded by wars. A collage of songs and stories of the wars of this world, this new production by Mass & Fieber captivates through sophisticated dramaturgy, density and precision. In this gothic musical play text, musical compositions and film excerpts form an equally unsettling as well as amusing and poetic ghost story. 

WITH Fabienne Hadorn, Malika Khatir, Nicole Steiner, Samuel Streiff, Martin Gantenbein, Markus Schönholzer DIRECTION Niklaus Helbling ASSISTANCE Katharina Wiss TEXT Brigitte Helbling, Niklaus Helbling MUSIC Martin Gantenbein, Markus Schönholzer VIDEO Elke Auer, Christina Peios SOUND Mike Hasler CHOREOGRAPHY Salome Schneebeli SCENOGRAPHY Dirk Thiele ASSISTANCE Christina Peios ARTWORK Thomas Rhyner LIGHT DESIGN Björn Salzer COSTUMES Judith Steinmann TECHNICAL DIRECTOR Peter Affentranger PHOTO Christina Peios PREMIERE Schlachthaus Theater, Bern 02/2008 PRODUCTION Stéphanie Jaquet COPRODUCTION Schlachthaus Theater Bern; Kaserne Basel; Theater Rigiblick Zürich SUPPORT Stadt Zürich Kultur; Fachstelle Kultur Kanton Zürich; Migros-Kulturprozent; Stanley Thomas Johnson Stiftung; Ernst Göhner Stiftung; Sophie und Karl Binding Stiftung; Georges und Jenny Bloch Stiftung; Zuger Kulturstiftung Landis & Gyr; Paul Schiller Stiftung; Dr. Adolf Streuli-Stiftung INTERNET www.massundfieber.ch

Mass & Fieber
Mass & Fieber was founded in 1996 by Niklaus Helbling, Martin Gantenbein and Walter Stulzer as a society for the promotion of anonymous fiction, gimmickry and the linking of all art forms. Since 1999, their own pieces and performances, CDs and radio plays have emerged using artists from the fields of music, theatre, video, dance and literature.

Why are there no princes in Switzerland, actually? Fritz, Franz and Ferdinand are to blame. Because of their cocky behaviour, the triplet princes have been magically turned into cockerels. Only the kiss of a genuine princess can save them. The three set off on an adventurous trip to a fairytale world. There is danger on the horizon: Little Red Riding Hood’s wolf is right on their heels and is ravenous for poultry… Will Fritz, Franz and Ferdinand make it or will they remain cockerels forever? Theater Gustavs Schwestern presents a captivatingly absurd new puppet show. 

WITH Jacqueline Surer, Sibylle Grüter DIRECTION Priska Praxmarer DRAMATURGY Theater Gustavs Schwestern TEXT Jacqueline Surer, Sibylle Grüter SCENOGRAPHY Theater Gustavs Schwestern SET DESIGN Peter Affentranger LIGHT DESIGN Daniel Meier PHOTO Martin Volken PREMIERE Theater Stadelhofen, Zürich 01/2008 PRODUCTION Theater Gustavs Schwestern INTERNET www.gustavsschwestern.ch

Theater Gustavs Schwestern
Theater Gustavs Schwestern was founded in 2005 by Sibylle Grüter and Jacqueline Surer. They met in 2002 whilst taking a postgraduate course in puppetry at the Hochschule für Musik und Theater (HMT) Zürich. The aim of this Zurich puppetry team is to stage new and unconventional puppet shows for children and adults.

Why are there no princes in Switzerland, actually? Fritz, Franz and Ferdinand are to blame. Because of their cocky behaviour, the triplet princes have been magically turned into cockerels. Only the kiss of a genuine princess can save them. The three set off on an adventurous trip to a fairytale world. There is danger on the horizon: Little Red Riding Hood’s wolf is right on their heels and is ravenous for poultry… Will Fritz, Franz and Ferdinand make it or will they remain cockerels forever? Theater Gustavs Schwestern presents a captivatingly absurd new puppet show. 

WITH Jacqueline Surer, Sibylle Grüter DIRECTION Priska Praxmarer DRAMATURGY Theater Gustavs Schwestern TEXT Jacqueline Surer, Sibylle Grüter SCENOGRAPHY Theater Gustavs Schwestern SET DESIGN Peter Affentranger LIGHT DESIGN Daniel Meier PHOTO Martin Volken PREMIERE Theater Stadelhofen, Zürich 01/2008 PRODUCTION Theater Gustavs Schwestern INTERNET www.gustavsschwestern.ch

Theater Gustavs Schwestern
Theater Gustavs Schwestern was founded in 2005 by Sibylle Grüter and Jacqueline Surer. They met in 2002 whilst taking a postgraduate course in puppetry at the Hochschule für Musik und Theater (HMT) Zürich. The aim of this Zurich puppetry team is to stage new and unconventional puppet shows for children and adults.

First thing in the morning, there is already a long queue of people in Lili Plume’s lost and found office. They have lost all kinds of things: the fat lady her waistline, a child its front-door key, someone is looking for warmth and comfort, and someone has even lost their head! Many are grieving over their lost items and shed tears. And all of them hope to get lucky in the lost and found office. With a lot of imagination and sensitivity, Lili Plume finds something for all of her customers that makes them happy again... even if it is not at all what they have been looking for. How Lili Plume makes people happy, whilst getting sadder herself; what the shipwrecked captain is looking for in her lost and found office; what does Lili eventually lose herself, whilst finding her smile again, is all told to you when you visit Lili’s kingdom of lost items. 

The puppeteer and actress, Kathrin Leuenberger is founder of the “Figurentheater Lupine”. Working with different artists every time, Kathrin Leuenberger primarily creates puppet shows for a younger audience. For “Lili Plume”, she worked with Frauke Jacobi, who is briefly presented in text on Dalang Puppencompany.  

WITH Kathrin Leuenberger DIRECTION Frauke Jacobi MUSIC Simon Hostettler COSTUMES Katharina Baldauf SET DESIGN Kathrin Leuenberger PHOTO Manu Friederich PRODUCTION Figurentheater Lupine COPRODUCTION Schlachthaus Theater Bern; Theater Tuchlaube, Aarau INTERNET www.figurentheaterlupine.ch

First thing in the morning, there is already a long queue of people in Lili Plume’s lost and found office. They have lost all kinds of things: the fat lady her waistline, a child its front-door key, someone is looking for warmth and comfort, and someone has even lost their head! Many are grieving over their lost items and shed tears. And all of them hope to get lucky in the lost and found office. With a lot of imagination and sensitivity, Lili Plume finds something for all of her customers that makes them happy again... even if it is not at all what they have been looking for. How Lili Plume makes people happy, whilst getting sadder herself; what the shipwrecked captain is looking for in her lost and found office; what does Lili eventually lose herself, whilst finding her smile again, is all told to you when you visit Lili’s kingdom of lost items. 

The puppeteer and actress, Kathrin Leuenberger is founder of the “Figurentheater Lupine”. Working with different artists every time, Kathrin Leuenberger primarily creates puppet shows for a younger audience. For “Lili Plume”, she worked with Frauke Jacobi, who is briefly presented in text on Dalang Puppencompany.  

WITH Kathrin Leuenberger DIRECTION Frauke Jacobi MUSIC Simon Hostettler COSTUMES Katharina Baldauf SET DESIGN Kathrin Leuenberger PHOTO Manu Friederich PRODUCTION Figurentheater Lupine COPRODUCTION Schlachthaus Theater Bern; Theater Tuchlaube, Aarau INTERNET www.figurentheaterlupine.ch

Since its inception, Cie 7273 has focused on the question of music and dance. What is the role of music on stage? Should it illustrate dance, accompany it, or remain independent from it? Can you use popular music for a dance performance; should it be live or digital? Do we want harmony, dissonant sounds, or better still peace and quiet? In “Laï Laï Laï Laï”, Cie 7273 attempts to put a band together. What would it be like as a dancer to behave just like a passionate folk singer? Laurence Yadi and Nicolas Cantillon venture into what is still unknown territory. Whereas up until now they have only communicated their bodily doctrine visually to us, they have now taken over our ears. A self-mocking piece for a group of four musicians who are in fact dancers. 

WITH Alexandre Joly, Nicolas Cantillon, Régis Marduel, Laurence Yadi CHOREOGRAPHY Laurence Yadi, Nicolas Cantillon, Alexandre Joly, Régis Marduel GUITAR & SONG Nicolas Cantillon SOUND ENVIRONMENT Alexandre Joly LIGHT DESIGN Jean-Philippe Roy COSTUMES Mathilde Gallay Keller, Maria Galve PICTURE Michel Cavalca PREMIERE Les Subsistances, Lyon 04/2008 PRODUCTION Compagnie 7273 COPRODUCTION Les Subsistances, Lyon; O Espaco do Tempo, Montemor-o-novo, Portugal; Dampfzentrale Bern; Gessnerallee Zürich SUPPORT Pro Helvetia; Etat de Genève, Département de l’instruction publique; Ville de Genève, Département des affaires culturelles; Loterie romande; DRAC Rhône-Alpes; Stanley Thomas Johnson Foundation; Adami; Spedidam; Conseil Général de la Haute-Savoie et Fondation Corymbo; mediathek tanz.ch INTERNET www.cie7273.com

Cie 7273
Cie 7273 – the name of the group represents the years in which Laurence Yadi and Nicolas Cantillon were born. In 2003, the two choreographers surprised the dance scene with their first piece “La vision du lapin”, already making a name for themselves internationally with their first efforts. Their performances are impressive due to their concept, clarity and consistency.

How do you tell the difference between a dead fly and a live one? What does a living entity have that a dead one does not have? Is it tangible nature that differentiates the two, or is it a condition? And why is the condition of the dead fly irreversible? Why is it not possible to bring back what has been left behind: life? Director and author, Lukas Bangerter transforms the stage into a Petri dish and the current status of robotics and biotechnology into a substance for dreamlike theatre images on the border between subject and object. Bangerter‘s laboratory assistants hope to achieve immortality whereby they overlook the fact that they make themselves superfluous. Shocked, they realise that they are inferior to the devices they have created and that they must appear as faulty designs when seen from the machines‘ perspective. 

WITH Jesko Stubbe, Jorgos Margaritis, Andreas Spaniol, Jan Ratschko, Junior Assis Noguiera, Martin Wigger DIRECTION Lukas Bangerter TEXT Lukas Bangerter DRAMATURGY Sarah Ross MUSIC Jan Ratschko, Martin Wigger SCENOGRAPHY Lukas Bangerter LIGHT DESIGN Patrik Rimann SPECIAL EFFECTS Walter Kenneth COSTUMES Petra Kenneth ASSISTANCE Tobias SET BUILDING Kurt Brun, Silvano Speranza Steiner PHOTO Dominique Meienberg PREMIERE Theaterhaus Gessnerallee, 06/2008 Zürich PRODUCTION Kathrin Spaniol, Walter Delazer COPRODUCTION Theaterhaus Gessnerallee Zürich SUPPORT Stadt Zürich Kultur; Fachstelle Kultur Kanton Zürich INTERNET www.plasmaplasma.ch

Plasma
Plasma research the limits between theatre, music and fine art, and create performances that are multilayered, meditative and yet are always clear and reduced in means. A focal point of Plasma’s work is the attempt to liberate language from its sole task of transporting information and to understand it as an acoustic phenomenon.

Since its inception, Cie 7273 has focused on the question of music and dance. What is the role of music on stage? Should it illustrate dance, accompany it, or remain independent from it? Can you use popular music for a dance performance; should it be live or digital? Do we want harmony, dissonant sounds, or better still peace and quiet? In “Laï Laï Laï Laï”, Cie 7273 attempts to put a band together. What would it be like as a dancer to behave just like a passionate folk singer? Laurence Yadi and Nicolas Cantillon venture into what is still unknown territory. Whereas up until now they have only communicated their bodily doctrine visually to us, they have now taken over our ears. A self-mocking piece for a group of four musicians who are in fact dancers. 

WITH Alexandre Joly, Nicolas Cantillon, Régis Marduel, Laurence Yadi CHOREOGRAPHY Laurence Yadi, Nicolas Cantillon, Alexandre Joly, Régis Marduel GUITAR & SONG Nicolas Cantillon SOUND ENVIRONMENT Alexandre Joly LIGHT DESIGN Jean-Philippe Roy COSTUMES Mathilde Gallay Keller, Maria Galve PICTURE Michel Cavalca PREMIERE Les Subsistances, Lyon 04/2008 PRODUCTION Compagnie 7273 COPRODUCTION Les Subsistances, Lyon; O Espaco do Tempo, Montemor-o-novo, Portugal; Dampfzentrale Bern; Gessnerallee Zürich SUPPORT Pro Helvetia; Etat de Genève, Département de l’instruction publique; Ville de Genève, Département des affaires culturelles; Loterie romande; DRAC Rhône-Alpes; Stanley Thomas Johnson Foundation; Adami; Spedidam; Conseil Général de la Haute-Savoie et Fondation Corymbo; mediathek tanz.ch INTERNET www.cie7273.com

Cie 7273
Cie 7273 – the name of the group represents the years in which Laurence Yadi and Nicolas Cantillon were born. In 2003, the two choreographers surprised the dance scene with their first piece “La vision du lapin”, already making a name for themselves internationally with their first efforts. Their performances are impressive due to their concept, clarity and consistency.

How do you tell the difference between a dead fly and a live one? What does a living entity have that a dead one does not have? Is it tangible nature that differentiates the two, or is it a condition? And why is the condition of the dead fly irreversible? Why is it not possible to bring back what has been left behind: life? Director and author, Lukas Bangerter transforms the stage into a Petri dish and the current status of robotics and biotechnology into a substance for dreamlike theatre images on the border between subject and object. Bangerter‘s laboratory assistants hope to achieve immortality whereby they overlook the fact that they make themselves superfluous. Shocked, they realise that they are inferior to the devices they have created and that they must appear as faulty designs when seen from the machines‘ perspective. 

WITH Jesko Stubbe, Jorgos Margaritis, Andreas Spaniol, Jan Ratschko, Junior Assis Noguiera, Martin Wigger DIRECTION Lukas Bangerter TEXT Lukas Bangerter DRAMATURGY Sarah Ross MUSIC Jan Ratschko, Martin Wigger SCENOGRAPHY Lukas Bangerter LIGHT DESIGN Patrik Rimann SPECIAL EFFECTS Walter Kenneth COSTUMES Petra Kenneth ASSISTANCE Tobias SET BUILDING Kurt Brun, Silvano Speranza Steiner PHOTO Dominique Meienberg PREMIERE Theaterhaus Gessnerallee, 06/2008 Zürich PRODUCTION Kathrin Spaniol, Walter Delazer COPRODUCTION Theaterhaus Gessnerallee Zürich SUPPORT Stadt Zürich Kultur; Fachstelle Kultur Kanton Zürich INTERNET www.plasmaplasma.ch

Plasma
Plasma research the limits between theatre, music and fine art, and create performances that are multilayered, meditative and yet are always clear and reduced in means. A focal point of Plasma’s work is the attempt to liberate language from its sole task of transporting information and to understand it as an acoustic phenomenon.

Depending on how you pronounce it, the Japanese word “Ningyo” can mean siren or puppet. “Nin” means human, “Gyo” fish. This creation by Nicole Seiler, deals through dance, video and music with the myth of Siren: half human, half animal, sometimes mermaid, sometimes snake or bird woman. Often described as dangerous, this mythical character seduces through singing and beauty: a fascinating legend, combining seduction with death, throwing us into the stirring waters of an ambivalent existence – like a Siren or a puppet. Beguilingly impressive imagery, pulsating music and intense lighting create a magic that deals with an attempt at the emancipation of the ambivalent femininity of the Siren. 

WITH YoungSoon Cho Jaquet CONCEPT Nicole Seiler DRAMATURGY Simona Travaglianti CHOREOGRAPHY Nicole Seiler, YoungSoon Cho Jaquet, Chiharu Mamiya MUSIC Letizia Renzini VIDEO Nicole Seiler, Vincent Deblue SCENOGRAPHY Julien Grob LIGHT DESIGN Stéphane Gattoni COSTUMES Claude Rueger PHOTO Nicole Seiler PREMIERE Schlachthaus-Festival Ouest-Est, Bern 03/2008 PRODUCTION Compagnie Nicole Seiler COPRODUCTION Arsenic Lausanne; Espace Nuithonie Villars-sur-Glâne; Schlachthaus Bern SUPPORT Ville de Lausanne; Etat de Vaud; Loterie Romande; Fondation Leenaards; Migros Kulturprozent INTERNET www.nicoleseiler.com

Cie Nicole Seiler
Choreographer Nicole Seiler founded her company in 2002. She creates multimedia dance performances, videos and choreographic installations. Dance and video often have the same importance. They become two inseparable means of expression that challenge each other and are in dialogue with one another.

Depending on how you pronounce it, the Japanese word “Ningyo” can mean siren or puppet. “Nin” means human, “Gyo” fish. This creation by Nicole Seiler, deals through dance, video and music with the myth of Siren: half human, half animal, sometimes mermaid, sometimes snake or bird woman. Often described as dangerous, this mythical character seduces through singing and beauty: a fascinating legend, combining seduction with death, throwing us into the stirring waters of an ambivalent existence – like a Siren or a puppet. Beguilingly impressive imagery, pulsating music and intense lighting create a magic that deals with an attempt at the emancipation of the ambivalent femininity of the Siren. 

WITH YoungSoon Cho Jaquet CONCEPT Nicole Seiler DRAMATURGY Simona Travaglianti CHOREOGRAPHY Nicole Seiler, YoungSoon Cho Jaquet, Chiharu Mamiya MUSIC Letizia Renzini VIDEO Nicole Seiler, Vincent Deblue SCENOGRAPHY Julien Grob LIGHT DESIGN Stéphane Gattoni COSTUMES Claude Rueger PHOTO Nicole Seiler PREMIERE Schlachthaus-Festival Ouest-Est, Bern 03/2008 PRODUCTION Compagnie Nicole Seiler COPRODUCTION Arsenic Lausanne; Espace Nuithonie Villars-sur-Glâne; Schlachthaus Bern SUPPORT Ville de Lausanne; Etat de Vaud; Loterie Romande; Fondation Leenaards; Migros Kulturprozent INTERNET www.nicoleseiler.com

Cie Nicole Seiler
Choreographer Nicole Seiler founded her company in 2002. She creates multimedia dance performances, videos and choreographic installations. Dance and video often have the same importance. They become two inseparable means of expression that challenge each other and are in dialogue with one another.

Andorra is a microstate that in wartime is threatened by a fascist regime, whose troops are deployed on Andorra’s its borders. The fascists pursue Jews. The Andorrans are not anti-Semite. There is no Jewish population in Andorra, except for Andri, a young boy believed to be Jewish whose presumed religion proves to be his fate. 

Andorra is fictional and does not represent the microstate bearing the same name, nor does it refer to another small country with a different name. Max Frisch defined Andorra as a name for a “model”, i.e. For him, it is not about events that took place in the past, but rather about events that could happen at any given time. 

“Dedicated to the Schauspielhaus Zürich in friendship and with gratitude” (Max Frisch on Andorra, 1961) 

DIRECTION Matthias Fontheim DRAMATURGY Andreas Erdmann TEXT Max Frisch SET DESIGN Johannes Schütz COSTUMES Johannes Schütz PHOTO Schauspielhaus by Georg Aerni PREMIERE Schauspielhaus Zürich, 11/2008

Due to a cruel stroke of fate a couple who has fallen out with each other meets again. Paralized by mourning and fear they are incapable of comforting and communicating with each other. Within the scenery of his native country the Norwegian author Jon Fosse observes the most subtle connections between the great tragedies of men.

DIRECTION Matthias Hartmann

Andorra is a microstate that in wartime is threatened by a fascist regime, whose troops are deployed on Andorra’s its borders. The fascists pursue Jews. The Andorrans are not anti-Semite. There is no Jewish population in Andorra, except for Andri, a young boy believed to be Jewish whose presumed religion proves to be his fate. 

Andorra is fictional and does not represent the microstate bearing the same name, nor does it refer to another small country with a different name. Max Frisch defined Andorra as a name for a “model”, i.e. For him, it is not about events that took place in the past, but rather about events that could happen at any given time. 

“Dedicated to the Schauspielhaus Zürich in friendship and with gratitude” (Max Frisch on Andorra, 1961) 

DIRECTION Matthias Fontheim DRAMATURGY Andreas Erdmann TEXT Max Frisch SET DESIGN Johannes Schütz COSTUMES Johannes Schütz PHOTO Schauspielhaus by Georg Aerni PREMIERE Schauspielhaus Zürich, 11/2008

Due to a cruel stroke of fate a couple who has fallen out with each other meets again. Paralized by mourning and fear they are incapable of comforting and communicating with each other. Within the scenery of his native country the Norwegian author Jon Fosse observes the most subtle connections between the great tragedies of men.

DIRECTION Matthias Hartmann