She She Pop
(Berlin)
Oratorium. Kollektive Andacht zu einem wohlgehüteten Geheimnis
Mousonturm Saal
Performance/Theater
- 31.08.2018, 20 Uhr€ 19 / erm. € 9 / € 5 für f.f.m. students Mitglieder
- 01.09.2018, 20 Uhr€ 19 / erm. € 9 / € 5 für f.f.m. students Mitglieder
- 02.09.2018, 6 p.m.€ 19 / red. € 9 / € 5 for f.f.m. students members
Property changes consciousness. It divides friends, gives one person power over others and excludes. Property is taken for granted. And people don’t talk about it. Nothing is so constitutive of our society, or our lives together; nothing has such a divisive effect on our community. With “Oratorio”, She She Pop wants to air the secret of property. Together with each choir of local delegates and their audience, the world wide successful performance collective starts a discussion on property and examines their own relationship to ownership, the distribution of goods and its related problems. Inspired by Brecht’s Lehrstücktheorie, they develop rules for a dialogical theatre show and form discordant speaking choruses, which renegotiate with each performance how we deal with property.
Mousonturm-Co-production
In German
Von und mit: Sebastian Bark, Johanna Freiburg, Fanni Hamburger, Lisa Lucassen, Mieke Matzke, Ilia Papatheodorou, Berit Stumpf sowie dem Chor der lokalen Delegierten
Biography
She She Pop
She She Pop is a performance collective that was founded in the 90s at the Giessen Institute for Applied Theatre Studies. Its members are Sebastian Bark, Johanna Freiburg, Fanni Halmburger, Lisa Lucassen, Mieke Matzke, Ilia Papatheodorou, Berit Stumpf and Elke Weber, their creative producer. The members of the group are predominantly women and they work as a collective. The performers see themselves as authors, dramaturges and practitioners of their stage art. The inclusion of their own autobiographies is above all the method and not the purpose of their work.
The result is a form of theatre firmly committed to experimentation. The stage is always a place of intense publicness. Here, decisions are made, ways of speaking and social systems are tested, and speech gestures and social rituals are tried, rehearsed or discarded. She She Pop sees its task as a search to find the social limits of communication – and to go beyond the protective space of the theatre, in both specific and artistic terms. The theatre is turned into a space for utopian communication. The audience, too, is often given a tangible attribution and a special feature: all of She She Pop’s works are experiments or demonstrations in some way, which would be invalid without spectators.