Stückemarkt Selection 2016
The jury of the Stückemarkt has announced its selection for the Stückemarkt of the 53rd Theatertreffen 2016.
In an open, Europe-wide competition, the Theatertreffen’s Stückemarkt searched for innovative forms of authorship that deal with the political dimension of narrative.
A total of 324 works were submitted; 213 were theatre texts and 111 were projects. For the first time, this year there were more entries from non-German speaking countries than from German-language countries. A strong internationalization of applications and an increase in projects submitted were two discernible trends among this year’s entries. 18 plays were considered in the final discussion.
The team of the Stückemarkt congratulates the invited artists.
In the manner of Ovid’s “Metamorphoses” and with strong choreographic images, Bara Kolenc, Atej Tutta and their performers examine the use and misuse of rhetoric in politics, markets and the media. RETORIKA is the third instalment of the long-term project “Metamorphoses 1° - 5°”, which consists of performances, installations, video-art productions and theoretical formats.
“Eine Version der Geschichte” (One Version of the Story)
(Germany) – staged reading
Everything begins with a sound document, a voice. It resembles the voice of the protagonist’s grandfather, and she sets out to search for her own history, following a trace that tries to comprehend the incomprehensible. Ultimately, this version leads to the story of an Armenian family, inextricably interwoven with the political events of the 20th century, while at the same time raising questions about truth and lies, forgetting and remembering, silence and speaking.
Ana, Luka, Marin and Marija were born in Croatia in 1990. The play follows its characters for nearly thirty years and tells us how they behave and develop in varying economic, emotional and political contexts. The text joins polyphonous voices together – memories of childhoods in times of war pass into visions of future life conflicts. In doing so, it almost casually creates a precise typology of a young generation caught between two worlds.
As if for a ritualised ceremony, the audience are seated in a circle around the four performers. These describe what they see: the room, the bodies, the people. The audience increasingly become subjects of the performance and physically experience the violence that stems from language’s compulsion for description.
A country on the brink of civil war. Two generations, two cities, two opposite journeys. While the entire population is fleeing towards the South, the outsider struggles to get to the North in order to fulfil his mission. Time levels intermingle. The play refuses to comply with any linear, narrative dramaturgy and depicts the cruel phantasies of a contemporary society of asynchrony, ready for to relapse into barbarism.