{"id":6415,"date":"2014-10-08T08:48:12","date_gmt":"2014-10-08T08:48:12","guid":{"rendered":"https:\/\/theatre.local\/laikmetiga-teatra-programma-forte-forte-rimini-protokoll\/"},"modified":"2014-10-08T08:48:12","modified_gmt":"2014-10-08T08:48:12","slug":"laikmetiga-teatra-programma-forte-forte-rimini-protokoll","status":"publish","type":"post","link":"https:\/\/theatre.kondrats.dev\/en\/laikmetiga-teatra-programma-forte-forte-rimini-protokoll\/","title":{"rendered":"Contemporary theatre programme forte forte. Rimini Protokoll. Situation Rooms"},"content":{"rendered":"

<\/p>\n

Rimini Protokoll (Haug \/ Kaegi \/ Wetzel)
\nSITUATION ROOMS<\/strong>
\nA multiplayer video piece<\/p>\n

R\u012bgas Kinostudija, \u0160mer\u013ca street 3
\nOctober 14th – 17th & 20th – 24th at 16:00, 18:00 and 20:00
\nOctober 18th – 19th and 25th – 26th at 12:00, 14:00, 16:00, 18:00 and 20:00
\nIn Latvian, English, German or French
\nDuration 1h 30min
\nEach performance can be seen by 20 people
\nWe ask you to be at the venue 15 minutes before the start of the performance<\/p>\n

Sold out!<\/p>\n

Authors: Helgard Haug, Stefan Kaegi, Daniel Wetzel
\nScenography: Dominic Huber \/ blendwerk
\nVideo: Chris Kondek
\nSound: Frank B\u00f6hle
\nTechnical Director \/ Light: Sven Nichterlein
\nResearch: Cornelius Puschke, Malte Hildebrand
\nDirector Assistance: Malte Hildebrand, Ann-Kathrin B\u00fcdenbender
\nProduction Management: Heidrun Schlegel
\nScenography Assistance: Claudia Bartel \/ Ute Freitag \/ Sophie Reinhard \/ Leonie S\u00fcess
\nVideo Assistance: Philipp Hochleichter
\nLight: Hans Leser \/ Stefan Neumann
\nElektronic Effects: Georg Werner
\nProduction management Assistance: Caroline Lippert \/ Christin Pr\u00e4tor<\/p>\n

Participants:\u00a0Abu Abdu Al Homssi (Syria),\u00a0Shahzad Akbar (Pakistan),\u00a0Jan van Aken (Germany),\u00a0Narendra Divekar (India),\u00a0Nathan Fain (USA),\u00a0Reto H\u00fcrlimann (Switzerland),\u00a0Maurizio Gambarini (Germany),\u00a0Andreas Geikowski (Germany),\u00a0Marcel Gloor (Switzerland),\u00a0Barbara Happe (Germany),\u00a0Volker Herzog (Germany),\u00a0Richard Khamis (South-Sudan),\u00a0Wolfgang Ohlert (Germany),\u00a0Irina Panibratowa (Russia),\u00a0Ulrich Pfaff (Germany),\u00a0Emmanuel Thaunay (France),\u00a0Amir Yagel (Israel),\u00a0Yaound\u00e9 Mulamba Nkita (Kongo),\u00a0Familie R (Lybia),\u00a0Alberto (Mexico)\u00a0and Christopher Dell, Alexander Lurz, Karen Admiraal<\/p>\n

A production of Rimini Apparat and Ruhrtriennale, in coproduction with Schauspielhaus Z\u00fcrich, SPIELART festival & M\u00fcnchner Kammerspiele, Perth International Arts Festival, Grande Halle et Parc de la Villette Paris, HAU \u2013 Hebbel am Ufer, K\u00fcnstlerhaus Mousonturm Frankfurt am Main, Onassis Cultural Center-Athens.
\nFunded by the German Federal Cultural Foundation and the Regierende B\u00fcrgermeister of Berlin – Senate Chancellery – Cultural Affairs.<\/p>\n

www.rimini-protokoll.de<\/a><\/p>\n

May 2011, a photo flashes onto screens around the world. It shows 13 people in a room. The expressions on their faces speak volumes: triumph, fascination, scorn, horror, scepticism, preoccupation. The photo from the White House \u201cSituation Room\u201d documents the end of a manhunt that was pursued with all possible weapons.<\/p>\n

\u2018Situation Rooms\u2019 gathers together from various continents 20 people whose biographies have been shaped by weapons in a film set that recreates the globalised world of pistols and rocket-propelled grenades, of assault rifles and drones, of rulers and refugees, becoming a parcours of unexpected neighbourhoods and intersections.<\/p>\n

With the personal narratives of the \u2018inhabitants\u2019, the images start to move and the audience follows the individual trails of the cameras they have been given. They start to inhabit the building, while following what they see and hear on their equipment. The audience does not sit opposite the piece to watch and judge it from the outside; instead, the spectators ensnare themselves in a network of incidents, slipping into the perspectives of the protagonists, whose traces are followed by other spectators.<\/p>\n

One spectator sits at the desk of a manager for defence systems. At the same time, another follows the film of a Pakistani lawyer representing victims of American drone attacks in a cramped room with surveillance monitors. On her way there, she sees a third spectator who follows his film into the shooting range of a Berlin gun club, listening Germany’s parcours shooting champion. Around the corner stands another spectator in the role of a doctor carrying out amputations in Sierra Leone, while in the room next door a press photographer sorts pictures of German army missions in Afghanistan, only to stand in the shooting range himself a little later to do exactly what he was able to observe in passing just a while ago, thereby becoming a subject for observation himself.\u00a0The audience gradually becomes entangled in the film set\u2019s spatial and material labyrinth; each individual becoming part of the re-enactment of a complicatedly elaborated multi-perspective \u201cshooting\u201d.<\/p>\n