Stückemarkt II

Bloody Homeland

Claustrophobia in the microcosm of village society. The nexus of power based on a pig food concern give rise to egocentricity and envy and release a wave of violence that turns into a genuine witch-hunt. The artificiality of the language used by the characters in “Bloody Homeland” is a deliberate formal expression of the incestuous self-preoccupation of the village world.

Juliane Kann, born in 1982, studied German and philosophy at Rostock University and in April 2004 began her studies in scenic writing at Universität der Künste in Berlin. In the summer of 2004 she was awarded the audience award of Hans Otto Theater in Potsdam for her monologue “Zwiegespräch” (dialogue). In December 2004 she took part in a reading in the course of ‘Brandenburgische Literaturnacht’ at the same Hans Otto Theater. “Blutiges Heimat” is her first drama.

Plastic

“Les Liaisons Dangereuses” as a modern thriller in the world of pop stars and small time criminals in a fictitious European city. A powerful, high-tempo piece employing strong metaphors and impressive characterization, “Plastic” is a tale of the lust for and abuse of power.

Nicolai Borger, born in 1974, is a resident playwright and actor at Schauspiel Neukölln in Berlin. Following his drama lessons at Europäisches Theaterinstitut Berlin he had various engagements at Théâtre Grütli in Geneva, Théâtre de l’Aquarium in Paris and Thalia Theater in Hamburg. In addition, he directed a number of independent short productions for theatre and film. In 2004, his piece “Kriegsmaschine” (war machine) was first performed at Thalia Theater Hamburg. “Plastik” forms part of the cycle “Global Ghetto”, whose other pieces include “Vinyl”, “Kerosin” and “Plexiglas”, and which reflects Borger’s experiences from his theatrical work in the social focus area of the Berlin suburb Neukölln.