#RiminiProtokoll

[gongso]

2024–10–23 이것은 대사관이 아니다 (This is not an Embassy) @아르코예술극장

[seoulstages]

2024–10–22 ~ 23 아르코예술극장

리미니 프로토콜, 이것은 대사관이 아니다

리미니 프로토콜, 이것은 대사관이 아니다 (This is not an Embassy), 콘셉트/연출: 슈테판 카에기(Stefan Kaegi), 출연: 데비 수야 왕, 데이비드 우, 치아요 쿠오, 드라마 트루기/조연출: 웬 스니, 무대디자인: 도미닉 후버, 영상: 비에른 미코 게스텔, 음악: 폴리나 랩콥스카자 (폴리에스터), 데비 수야 왕, 헤이코 튜브싱, 리서처: 로 잉루, 영상촬영: 필립 린, 조명: 피에르-니콜라스 물랭, 공동 드라마투르기: 캐롤라인 바노, 조연출: 킴 크로프트, 무대디자이너: 지원 마티유 스테판, 퍼스트 네이션 대표: 캉라-라혹, 영상 안무: 하나 아줄라, 자문: 알요샤 베그리치, 비비안 파빌롱, 장소: 아르코예술극장 대극장, 2024년 10월 22~23일 (20:00), 입장료: 60,000월(R석), 40,000원(S석), 예매: via Interpark, via ARKO.

[amiralionly]

نمای چهارراه ولیعصر از بام تئاتر شهر، در یک روز زمستانی، پایان اجرای گروه ریمینی پروتکل در تهران #شهر_بعدی #next_city Valiasr Junction from the roof of The city theater, on a winter day after the performance by #riminiprotokoll in Tehran. (at City Theater of Tehran) https://www.instagram.com/p/CGK44ucn2Hq/?igshid=1nq9q2x4l6vs5

[jdtortil]

Grandma, Les Trombones de La Havane de Rimini Protokoll : le croisement de destin collectif et individuels donnent à voir l’histoire de Cuba avec sensibilité et talent. La Grande Histoire se joue dans l’orchestration du récit émouvant des 4 histoires des grands parents, témoins et acteurs de la révolution. À voir au théâtre des Carmes #FDA 19 #riminiprotokoll #theatre #stefankaegi #weloveart (à Festival d'Avignon) https://www.instagram.com/p/B0FwREfCtPl/?igshid=4bj11d4r2ahp

[eminenz]

Black Box #volkstheater #theater #phantomtheater #blackbox #latergram #stage #bühne #corona #aktionstheater #lichtbrücke #riminiprotokoll #stefankaegi #wien #vienna #igersvienna #wienliebe #wienstagram #viennablogfer #onstage #live #kultur #kunst (hier: Volkstheater Wien) https://www.instagram.com/p/CTt2pUbAs0D/?utm_medium=tumblr

[schlichtundergreifend]

Overcoming the obstacle of the Uncanny Valley #riminiprotokoll #thomasmelle @rimini_protokoll @mousonturm https://www.instagram.com/p/B3kdXPzIjZa/?igshid=16tl2e6a0oz3i

[leaconnert]

Head of Production | Internationales Sommerfestival Kampnagel | 2019 

Dear Guests, as far as the future is concerned, well-known science fiction author William Gibson makes it clear that his books are not predictions or speculations about what is to come, but “take the temperature of the present”. For Gibson, science fiction is a literary toolkit to describe an increasingly wired present. If now this festival – aesthetically and content-wise brimming with the present – deals with the future, dystopia is obvious. Because it does describe catastrophic conditions in the future as direct results of our present actions. Which also means, that, theoretically, we now could still prevent the foreseeable hell.

This applies to no other topic as much as to climate change, which encompasses all current human issues from nutrition to migration, and moves an entire next generation against VW and the likes, not only on Fridays. The American author David Wallace-Wells has written the matching compulsory book for all thinking (and especially living) people: “The Uninhabitable Earth” is a groundbreaking summary of facts and scientific hypotheses on global warming. Wallace-Wells will talk about this as a guest at the festival conference of journalist Hannes Grassegger, and in addition, climate scientist Mojib Latif will give a lecture. Dystopias though, are often delivered through big pictorial narratives, through which we first grasp the future. This demonstrates a new largescale stage work by the Belgian theatrical iconoclast Kris Verdonck, and a film program by the newly appointed Berlinale program director Mark Peranson.

Perhaps the praying mantises – as on the cover of this program booklet – will be the last to jump into the wormhole of posthuman genesis. Insects, however, are also the first exhausted victims of global warming. So it‘s a good thing that the retail tycoon Walmart has just patented robotic bees. God is a Silicon Valley technologist anyway, and humans will soon be on permanent vacation. Or at least they don‘t have to be on stage themselves  anymore, like the German bestselling author Thomas Melle with his bipolar disease. In an impressive piece by Rimini Protokoll, he is replaced by a humanoid robot and gives a positive interpersonal example of body and machine. Maybe we simply have to think bigger into the future like Stephen Hawking, who, in view of the destruction of the earth‘s atmosphere, expected us to colonize other planets to survive. That the extraterrestrials might also have a tone in the matter of human history of colonization, shows SPACE – THE 3RD SEASON, Josh “Socalled” Dolgin‘s gorgeous puppet-musical-series’ third part. And if you don‘t want to wait for Elon Musk‘s Mars expedition, but still are adventurous, you might take off into other spheres with the JAJAJAs, or book a trip with musical virtuoso Kid Koala’s SATELLITE. This piece is quite family friendly, which doesn‘t apply to a visit to the museum of Norwegian group Susie Wang: in their exciting horror illusion theatre MUMMY BROWN, a black hole and objects from outer space are exhibited, which the pregnant museum visitor better not have touched. The piece is part of Susie Wang‘s horror trilogy about the human relationship to nature and the female body. The fact that the female body can be bold, multi-faceted and dazzling is best shown by the feminist pop icon Peaches, who has been questioning social power relations for 20 years and will present one of a total of eight festival world premieres (of which three, for the first time, will be produced for the large hall K6): In her stage work with almost 40 participants, Peaches will create a (less dystopian) vision for the future of feminism. Moreover, the queer art pioneer opens her first institutional solo exhibition in the Kunstverein and presents an accompanying program with a lustful vaudeville show and four excessive club evenings.

Often it is the clubs, that are nucleuses for social change and safe spaces for young people and queers, even in repressive systems. This also applies to the famous Bassiani club in the Georgian capital of Tbilisi, where brutal police raids in 2018 triggered expressions of solidarity and protests throughout Europe. An event that also serves as a backdrop for the festival’s opening piece in the big hall, MARRY ME IN BASSIANI, by the French media art collective (LA)HORDE: a spectacular stage overpowering with 15 former dancers of the Georgian National Ballet about dance as a medium of peaceful resistance. (LA)HORDE, who have just been appointed as new directors of the prestigious Ballet de Marseille, will also present a live art installation on resistance and affirmation in the huge Kampnagel Vorhalle. This is only one example of the festival‘s expanded concept of art. The impulses that arise from overlapping genres will also sparkle in the collaboration between Canadian choreographer Aszure Barton and musician Hauschka: Barton, who radically rejuvenates dance worldwide, will rehearse for two months in Hamburg with Hauschka and a large ensemble for their festival world premiere WHERE THERE‘S FORM. These and other world premieres, such as the one with Carsten “Erobique” Meyer on the underexposed pop cultural heritage of the ‘70s GDR music, or new discoveries such as the masked Russian performers of Vasya Run, are only possible through great supporters an cooperation partners: The Elbphilharmonie hosts the three Kampnagel accomplices Soap&Skin, Chilly Gonzales (who’s also a close collaborator of Peaches), as well as the Aarhus Symfoniorkester with the Bell Orchestre. The latter features Richard Reed Parry, whom we also present with an immersive concert at the Hamburg Planetarium as part of the NEW INFINITY series in collaboration with Berliner Festspiele. As always, there is much more madness to discover, please click through!

The space shuttle is ready; we’ll take off daily in the Avant-Garden with Migrantpolitan & Co and will end up every night in the club (with a program ranging from Japanese Psych-Rock to the avant-garde legend Charlemagne Palestine). Big thanks to all who have trusted and supported us so far, and to you, ready to fly with us into the future.

See you soon, András Siebold & The Summer Festival Team

https://www.kampnagel.de/en/sommerfestival/current/

© Design by The Laboratory of Manuel Bürger: Simon Schindele, Manuel Bürger

[praza-teatro]

RIMINI PROTOKOLL – SITUATIONS ROOMS. Por Agustín González Alonso

Calquera sabe que vai vivir unha experiencia extraordinaria cando algo o saca do seu lugar de confianza. Esta foi a sensación que vivimos as 30 persoas que asistimos á peza Situations Rooms do colectivo de directores alemáns Rimini Protokoll.

As/os espectadoras/es entramos por bambalinas ao escenario mentres un equipo de técnicos comeza a darnos instrucións do que temos que facer antes de entrar ao espectáculo: ter a man o DNI, quitar as chaquetas, non levar ningún artiluxio nas mans… estas advertencias comezan a xerar unha mezcla de inquedanza e responsabilidade entre as/os asistentes. Cadaquén conta cunha tablete uns auriculares e imos ter que seguir o noso video, que actúa coma unha lupa da nosa rota polos espazos que imos percorrer. A última instrución que recibimos é que na pantalla aparecen algúnhas iconas que indican se temos que deitarnos, sentar, dar a man ou realizar outro tipo de acción. Tras toda a explicación avísase que se alguén se perde hai saídas de emerxencia ou pódese levantar a man e alguén do equipo técnico pode reorientar. Comeza unha conta regresiva e cadaquén colócase diante dunha porta: Situations Rooms dá comezo.

Entramos nunha especie de escape roomon de temos que encarnar a 9 persoas e ver o que ven no seu día a día. Aínda que, ao principio, é difícil coordinar a atención no video e as interaccións, pouco a pouco vaste deixando levar. Neste espectáculo podes entrar na pel dun hacker que substrae información militar, dun fabricante de armas, dun político antibelicista, dun neno soldado… e todo o tempo estás executando actividades. Este bombardeo de imaxes provoca sensacións verdadeiramente agobiantes; como estar tumbado no chan mentres un soldado israelí che conta, a través da pantalla, que pode estar 9 horas nesa posición sen facer ruido ningún.

Un dos aspectos máis logrados deste espectáculo é conseguir que a voz das testemuñas absorba os teus pensamentos. Esta realidade virtual achégate a esas vidas de maneira estremecedora. Todo o que ocorre é unha precisa reconstrución subxectiva de axentes activos ou colaterais do cosmos armamentístico e bélico.

Cando rematamos esta experiencia, todas as persoas que asistimos, respiramos tranquilas e contrastamos as nosas experiencias dos personaxes que encaramos. Saír dos Teatros do Canal foi un alivio, mais ninguén queda impune da carga que xera esta live experience. Rimini Protokoll apunta a cada un de nós e a cada unha de nós, coas nosas pantallas, televisores, smartphones, pantallas… facéndonos reflexionar sobre a gran responsabilidad que temos co mundo que nos rodea, mais alá de ser espectadoras/es pasivas/os.

*Agustín González Alonso é alumno da especialidade de Dirección escénica e dramaturxia da ESAD de Galiza.

*Coordinación e supervisión de Afonso Becerra de Becerreá.

[thisisntfarmlife]

The #BrooklynMuseum was a great setting for the #spymission I went on yesterday courtesy of the #RiminiProtokoll #TopSecretInternational experience and the #PublicTheater #UnderTheRadar. (at Brooklyn Museum)

[daryajamaica]

Жду начала иммерсивного спекткля группы Rimini Protokoll "Situation rooms", интересно с какими впечатлениями я выйду с него #беличьиистории #дашапутешественница #белкалетяга #летолетнее #москватудаобратно #культпросвет #вднх #riminiprotokoll (at ВДНХ)

[kevinfuchs]

Rimini Protokoll – Staat 2 #riminiprotokoll #behindthescenes #hkw #100yearsofnow #hausderkulturenderwelt #onassignment (at Haus der Kulturen der Welt)

[gongso]

2022-10-23 리미니 프로토콜, 부재자들의 회의 @대학로예술극장

[smak7]

Rimini Protokoll: “Nachlass – Pièces sans personnes” Seen at Martin-Gropius-Bau’s exhibition Limits of Knowing Berlin, Germany

What remains of us after we die? How can memories be staged? Stefan Kaegi accompanied eight people who, for different reasons, have decided to prepare their farewell. Thus, in collaboration with the set designer Dominic Huber, spaces were created that tell the story of what remains of people when they are no longer there. “Nachlass” is like a 21st-century pyramid or mausoleum, which has been designed by its future owner: here, eight contemporary positions illustrate what legacy and heritage mean today. What do we want to pass on to the people we love, and what do we want to leave for the society we live in? The audience enters eight immersive spaces, accompanied by voices, objects and images as well as the limits of their own existence, at the place where the baton is passed on to the next generation.

[site-specific-ideas]

A play about the spectators #riminiprotokoll #maximgorkitheater #Berlin #remotemitte #play (at Maxim Gorki Theater)

[valentinmanz]

@Shooting Ourselves #BIFF #bergen @ChristineCynn #riminiprotokoll

[ankitasadarjoshi-blog]

Powerful Protokoll

“Take a picture. This will be your only memory of this evening.”

Rimini Protokoll’s Remote Abu Dhabi performance left me feeling vaguely depressed - the city I’d grown to consider home had just been dissected and analyzed for me in a manner that rendered me an action figure in a very shiny dollhouse, an inconsequential specimen in a laboratory of skyscrapers. That being said, it succeeded in its mission of making me observe and question Abu Dhabi, every step of the way. Why? Because I stood atop a hospital whose healthcare facilities can probably be afforded by only a privileged few, and looked out at a collection of buildings that would inevitably return to their dusty origins – or so I was told by a steady robotic voice. The existentialism I experienced was surreal. Should any performance be allowed to have that effect on its audience? My imagination had been colonized by technology and I was left on the precipice of a city that, every minute of every hour of every day, performs itself, and more significantly, performs power in dictating how we should live our lives.

To me, the truth of Peter Brook’s first line, “I can take any empty space and call it a bare stage” in The Empty Space could not be challenged more eloquently by Remote Abu Dhabi. Every space we were guided through in the performance was, in the theatric sense, an “empty space.” By this I mean that the park, football stadium, parking lots, and mall we traversed were most definitely devoid of red curtains and spotlights; however, these spaces were in no way “bare” in terms of performativity. We were constantly asked to think about how the various objects we saw performed functions in our daily lives and how we, as inhabitants of those spaces, felt while interacting with these objects. While walking on the sidewalk past Al Wahda Mall, for instance, the soothing dictatorial female voice in our ears crooned that we as human beings are hindered by our own progress. She (why am I personifying a collection of computer-generated sounds?) pointed out that the richer we get, the more cars we buy, and the more cars we buy, the more we contribute to traffic and clog up our own roads. The voiceover acted like an invisible all-seeing narrator and filled scenes of daily life with a penetrating intellectualization of the otherwise most mundane things – elevators, bus stops, mirrors.

The performance involved mobilizing participants i.e. transforming them from passive spectators of a “conventional performance” into active performers who engage with the city. From the moment we arrived at the meeting point of the performance, we were – knowingly or unknowingly – already under its control. We handed over our ID cards to a man at a stall – a surrendering of identities we hadn’t foreseen, in exchange for a new way of looking at our city through headphones and a voicebox.  To me, Rimini Protokoll’s interactive performance piece represented a way of looking at state control over citizens and their imaginations, through the means of art. Ngugi Thiong’o’s theory that the ways in which spaces are structured affects the structure of our thinking comes into play here. While reading his work ‘Enactments of Power’, I found myself thinking, how do spaces inform the behaviours that are to occur within them? We were urged to look at people moving up and down escalators in Al Wahda Mall as actors on a conveyor belt stage. We watched them keenly and applauded them when we were told to. A few minutes later, we were dancing to music audible to only us in the middle of the mall’s central plaza. We performed dual roles as both spectators and actors, according to the instructions fed to us. The narration urged us to think about everyday spaces (like the mall) beyond the conventional functions we are used to them serving. In this way, the performance controlled our behaviour with relation to the space in which it was occurring. 

I felt choreographed and controlled during Remote Abu Dhabi. I was told, “Act normally. I will tell you how” by a person that cannot act at all because they don’t exist. I couldn’t help but relate this confinement of thought and behaviour to one that the state imposes on its citizens by its ability to determine how they move, where, and what they do within these new spaces. This performance was the most direct manipulation of human behaviour I could have imagined, and we, as obliged audiences, almost heedlessly played along. Remote Abu Dhabi constantly toyed with our definitions of space and compelled us to question these definitions in unconventional ways. A quote from Thiong’o’s piece that stood out for me in particular was, “The main ingredients of performance are place, content, audience, time, and the goal - the end, so to speak - which could be instruction or pleasure, or a combination of both - in short, come sort of reformative effect on the audience” (Thiong’o, Page 12). As restricted and confined as I felt within my allegiance to the female/male voices in my head, I cannot deny that through the places, contents, and times chosen, I, as a member of the audience, did feel as though the performance was pleasuring me in my expansion of the knowledge of the city. It is interesting to note that the performance achieved this pleasuring effect largely through instruction - a moral and political conflict I think Ngugi Thiong’o would be fascinated to explore. I am also left wondering whether a performance site IS ever truly empty to begin with, since Rimini Protokoll artfully proved that pretty much everything that constitutes a given space can be used to activate certain imaginative power and performance.

Works Cited:

Brook, Peter. The Empty Space. New York: Atheneum, 1968. Print.

Enactments of Power: The Politics of Performance Space.“ TDR 41.3 (1997): 11-30. Print.