#RiminiProtokoll

[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.

[gongso]

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

[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]

2010-01-10 Rimini Protokoll, 100% Berlin Reloaded @HAU1

[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)