Eğitmen: Gizem Ulufer
Yaş: 6-9 | Kontenjan: 10
Malzemeler: Renkli kartonlar, tuvalet kağıdı rulosu, yapıştırıcı, beyaz kağıt, siyah keçeli kalem. | Alternatif Malzemeler: Koli Kartonu, tuvalet kağıdı rulosu, yapıştırıcı, akrilik boya, fırça, oynar gözler, su şişeleri kapakları, düğmeler.

“Anıları nasıl kayderiz?” sorusunun peşine düşeceğimiz bu atölyede, Kundura Hafıza’nın sergisinde karşımıza çıkan fotoğrafları ve bu fotoğrafların bizde uyandırdığı duyguları konuşacağız. Ardından, kendi fotoğraf makinamızı tasarlayacak ve sergi sonrası hafızamızda kalan şeylerin fotoğraflarını çizerek ‘çekeceğiz’.

Biletinizi satın almadan önce "Etkinlik Notları" bölümünü okumayı unutmayınız.

Eğitmen: Gizem Ulufer
Yaş: 6-9 | Kontenjan: 10 |
Malzemeler: 35x50 kâğıt, eski afiş parçaları, makas, yapıştırıcı, akrilik boya, fırça, su. | Alternatif Malzemeler: 35x50 kâğıt, eski afiş parçaları, makas, gazlı ve pastel boyalar.

Sümerbank’ın ünlü afişlerinden ilhâmla hazırlanan bu atölyede, İhap Hulusi, Hayrettin Çizer gibi Türkiye grafik sanatının üstatlarının elinden çıkma afişlere yakından bakacak ve kullanılan kolaj tekniğinden de faydalanarak kendi afişlerimizi tasarlayacağız.

Biletinizi satın almadan önce "Etkinlik Notları" bölümünü okumayı unutmayınız.

1985 / USA / Color / 116’
English; with Turkish subtitles

Director: Robert Zemeckis | Producers: Bob Gale, Neil Canton | Screenplay: Robert Zemeckis, Bob Gale | Cast: Michael J. Fox, Christopher Lloyd, Lea Thompson | Cinematography: Dean Cundey | Editors: Harry Keramidas, Arthur Schmidt | Music: Alan Silvestri

Awards: Academy Awards (Oscar) Best Sound Effects Editing (1986) | Academy of Science Fiction, Fantasy & Horror Films Best Science Fiction Film, Best Actor, Best Special Effects (1986) | David di Donatello Awards Best Foreign Producer, Best Foreign Screenplay (1986)

The eccentric scientist Doctor Emmett Brown builds a car that allows time travel and Marty McFly, a high school student, gets to be the first person to drive it. While trying to be teleported from 1985 to the future, Marty is accidentally sent back to 1955 where he prevents his future parents to meet and creates the possibility of a future where he would never be born in.
A union of Robert Zemeckis and Bob Gale’s brilliant idea and Steven Spielberg’s visionary production, “Back to the Future” blasts off one of the most successful trilogies in film history and remains a timeless and unrivaled sci-fi classic with its groundbreaking special effects, Oscar and Grammy nominated songs and non-stop action.

1989 / USA / Color / 108’
English; with Turkish subtitles

Director: Robert Zemeckis | Producers: Bob Gale, Neil Canton | Screenplay: Robert Zemeckis, Bob Gale | Cast: Michael J. Fox, Christopher Lloyd, Lea Thompson | Cinematography: Dean Cundey | Editors: Harry Keramidas, Arthur Schmidt | Music: Alan Silvestri

Awards: BAFTA Awards Best Special Effects (1990) | Academy of Science Fiction, Fantasy & Horror Films Best Special Effects (1991) | BMI Film & TV Awards Best Film Score (1991) 

In this installment, Marty and Doc travel through time with Jennifer to 2015 where there are flying cars and skateboards. While trying to fine tune the McFly family’s future problems, they unwittingly disrupt the space-time continuum. In order to prevent the creation of an alternate 1985, they have no other choice but to go back to 1955 once again.
The most spectacular time travel adventure of all time continues to bend time with a sequel that proves lightning does strike twice and picks up the entertainment where it left off.

1988 / USA / Color / 92’
English; with Turkish subtitles

Director: Tim Burton | Producers: Michael Bender, Richard Hashimoto, Larry Wilson | Screenplay: Larry Wilson, Michael McDowell | Cast: Geena Davis, Alec Baldwin, Michael Keaton, Winona Ryder, Jeffrey Jones, Catherine O'Hara | Cinematography: Thomas E. Ackerman | Editor: Jane Kurson | Music: Danny Elfman

Awards: Academy Awards (Oscars) Best Makeup (1989) | National Society of Film Critics Awards Best Actor (1989) | BMI Film & TV Awards Best Film Score (1989) | Academy of Science Fiction, Fantasy & Horror Films (Saturn Award) Best Horror Film, Best Supporting Actress, Best Make-Up (1990)

When the married couple Adam and Barbara’s happy lives are cut short upon their unfortunate deaths in a car accident, they find themselves roaming as ghosts in their New England home. Stuck on this plane until they are accepted into the “afterworld”, the duo’s peace is disrupted altogether when the snobbish and loud Deetz family move into their house. When their attempts to scare away the family fail, this ghost couple resorts to making a deal with a malicious spirit named Beetlejuice.
One of the most distinctive films of Tim Burton’s filmography, “Beetlejuice” is a crazy and fun experience that knows no limits when it comes to bizarreness and comedy. Listed in the 88th place in The American Film Institute's list of Best Comedies that covers 500 films, “Beetlejuice” is Burtonesque magic with its spectacular style that turns the 1980s into a real time capsule, its designs that still inspire even today and its grotesque sense of humour.

1990 / USA / Color / 105’English; with Turkish subtitles

Director: Tim Burton | Producers: Bob Gale, Neil Canton | Screenplay: Tim Burton, Caroline Thompson | Cast: Johnny Depp, Winona Ryder, Vincent Price, Dianne Wiest | Cinematography: Stefan Czapsky | Editors: Colleen Halsey, Richard Halsey | Music: Danny Elfman

Awards: BAFTA Awards Best Production Design (1992) | Academy of Science Fiction, Fantasy & Horror Films (Saturn Award) Best Fantasy Film (1992)

A love child of Tim Burton’s affection for B-Horror movies and gothic literature, “Edward Scissorhands” focuses on childlike Edward who is left incomplete following the death of his creator and has scissor blades for hands. Living alone in a castle on a high hill, Edward’s life changes when Peg, a beauty products salesperson, knocks on his door one day. Peg feels sorry upon seeing this kind, young man live in the dark and brings him to her own town to live with her family. Edward’s presence and especially his scissor hands eventually cause unrest in the town of Suburbia which appears to have jumped out of 1950s and where everything is quite ‘normal’.
“Edward Scissorhands”, the first product of Tim Burton and Caroline Thompson’s screenwriting partnership that will continue with “Corpse Bride” and “The Nightmare Before Christmas”, is a real cult classic with a fabular story and its extraordinary world. From “The Hunchback of Notre-Dame” and “The Phantom of the Opera”, from “Frankenstein” to “King Kong” and even fairy tales, this unique film has references to a wide selection of works, and its compassionate ability to touch one’s heart at its vulnerable core is memorable.

1990 / USA / Color / 127’
English; with Turkish subtitles

Director: Jerry Zucker | Producer: Lisa Weinstein | Screenplay: Bruce Joel Rubin | Cast: Patrick Swayze, Demi Moore, Whoopi Goldberg, Tony Goldwyn | Cinematography: Adam Greenberg | Editor: Walter Murch | Music: Maurice Jarre

Awards: Academy Awards (Oscars) Best Screenplay, Best Actress in a Supporting Role (1991) | BAFTA Awards Best Actress in a Supporting Role (1991) | Academy of Science Fiction, Fantasy & Horror Films Best Fantasy Film, Best Actress, Best Supporting Actress (1991) | Golden Globes Best Performance by an Actress in a Supporting Role in a Motion Picture (1991)

Molly, a ceramic artist and Sam, a bank employee, are a successful and happy young couple who have recently moved into their luxurious Manhattan penthouse. One night on their way home, they get assaulted and Sam dies after being shot. This leads Molly into a major depression; but there is something she isn’t aware of: Intent on protecting her from harm, Sam has returned as a ghost and he is determined to find out who was behind their attack. In order to achieve this, he will have to convince the only person he can communicate with, a medium named Oda Mae Brown who isn’t all that assured of her own talents.

Known for the well-matched chemistry between Demi Moore and Patrick Swayze as well as Whoopi Goldberg’s performance that garnered her an Oscar, a Golden Globe and a BAFTA award, the unforgetable 90’s classic “Ghost” is still considered to be the one most romantic films of all time, especially with its iconic pottery scene with “Unchained Melody” playing over.

1985 / USA / Color / 116’
English; with Turkish subtitles

Director: Robert Zemeckis | Producers: Bob Gale, Neil Canton | Screenplay: Robert Zemeckis, Bob Gale | Cast: Michael J. Fox, Christopher Lloyd, Lea Thompson | Cinematography: Dean Cundey | Editors: Harry Keramidas, Arthur Schmidt | Music: Alan Silvestri

Awards: Academy Awards (Oscar) Best Sound Effects Editing (1986) | Academy of Science Fiction, Fantasy & Horror Films Best Science Fiction Film, Best Actor, Best Special Effects (1986) | David di Donatello Awards Best Foreign Producer, Best Foreign Screenplay (1986)

The eccentric scientist Doctor Emmett Brown builds a car that allows time travel and Marty McFly, a high school student, gets to be the first person to drive it. While trying to be teleported from 1985 to the future, Marty is accidentally sent back to 1955 where he prevents his future parents to meet and creates the possibility of a future where he would never be born in.
A union of Robert Zemeckis and Bob Gale’s brilliant idea and Steven Spielberg’s visionary production, “Back to the Future” blasts off one of the most successful trilogies in film history and remains a timeless and unrivaled sci-fi classic with its groundbreaking special effects, Oscar and Grammy nominated songs and non-stop action.

1989 / USA / Color / 108’
English; with Turkish subtitles

Director: Robert Zemeckis | Producers: Bob Gale, Neil Canton | Screenplay: Robert Zemeckis, Bob Gale | Cast: Michael J. Fox, Christopher Lloyd, Lea Thompson | Cinematography: Dean Cundey | Editors: Harry Keramidas, Arthur Schmidt | Music: Alan Silvestri

Awards: BAFTA Awards Best Special Effects (1990) | Academy of Science Fiction, Fantasy & Horror Films Best Special Effects (1991) | BMI Film & TV Awards Best Film Score (1991) 

In this installment, Marty and Doc travel through time with Jennifer to 2015 where there are flying cars and skateboards. While trying to fine tune the McFly family’s future problems, they unwittingly disrupt the space-time continuum. In order to prevent the creation of an alternate 1985, they have no other choice but to go back to 1955 once again.
The most spectacular time travel adventure of all time continues to bend time with a sequel that proves lightning does strike twice and picks up the entertainment where it left off.

1988 / USA / Color / 92’
English; with Turkish subtitles

Director: Tim Burton | Producers: Michael Bender, Richard Hashimoto, Larry Wilson | Screenplay: Larry Wilson, Michael McDowell | Cast: Geena Davis, Alec Baldwin, Michael Keaton, Winona Ryder, Jeffrey Jones, Catherine O'Hara | Cinematography: Thomas E. Ackerman | Editor: Jane Kurson | Music: Danny Elfman

Awards: Academy Awards (Oscars) Best Makeup (1989) | National Society of Film Critics Awards Best Actor (1989) | BMI Film & TV Awards Best Film Score (1989) | Academy of Science Fiction, Fantasy & Horror Films (Saturn Award) Best Horror Film, Best Supporting Actress, Best Make-Up (1990)

When the married couple Adam and Barbara’s happy lives are cut short upon their unfortunate deaths in a car accident, they find themselves roaming as ghosts in their New England home. Stuck on this plane until they are accepted into the “afterworld”, the duo’s peace is disrupted altogether when the snobbish and loud Deetz family move into their house. When their attempts to scare away the family fail, this ghost couple resorts to making a deal with a malicious spirit named Beetlejuice.
One of the most distinctive films of Tim Burton’s filmography, “Beetlejuice” is a crazy and fun experience that knows no limits when it comes to bizarreness and comedy. Listed in the 88th place in The American Film Institute's list of Best Comedies that covers 500 films, “Beetlejuice” is Burtonesque magic with its spectacular style that turns the 1980s into a real time capsule, its designs that still inspire even today and its grotesque sense of humour.

1990 / USA / Color / 105’English; with Turkish subtitles

Director: Tim Burton | Producers: Bob Gale, Neil Canton | Screenplay: Tim Burton, Caroline Thompson | Cast: Johnny Depp, Winona Ryder, Vincent Price, Dianne Wiest | Cinematography: Stefan Czapsky | Editors: Colleen Halsey, Richard Halsey | Music: Danny Elfman

Awards: BAFTA Awards Best Production Design (1992) | Academy of Science Fiction, Fantasy & Horror Films (Saturn Award) Best Fantasy Film (1992)

A love child of Tim Burton’s affection for B-Horror movies and gothic literature, “Edward Scissorhands” focuses on childlike Edward who is left incomplete following the death of his creator and has scissor blades for hands. Living alone in a castle on a high hill, Edward’s life changes when Peg, a beauty products salesperson, knocks on his door one day. Peg feels sorry upon seeing this kind, young man live in the dark and brings him to her own town to live with her family. Edward’s presence and especially his scissor hands eventually cause unrest in the town of Suburbia which appears to have jumped out of 1950s and where everything is quite ‘normal’.
“Edward Scissorhands”, the first product of Tim Burton and Caroline Thompson’s screenwriting partnership that will continue with “Corpse Bride” and “The Nightmare Before Christmas”, is a real cult classic with a fabular story and its extraordinary world. From “The Hunchback of Notre-Dame” and “The Phantom of the Opera”, from “Frankenstein” to “King Kong” and even fairy tales, this unique film has references to a wide selection of works, and its compassionate ability to touch one’s heart at its vulnerable core is memorable.

Original title: Hamlet

1921 / Germany / Black & White / 110’
Silent; with German intertitles and Turkish subtitles

Directors: Svend Gade, Heinz Schall | Screenwriter: Erwin Gepard (adapted from William Shakespeare’s play and Edward P. Vining’s book) | Cast: Asta Nielsen, Paul Conradi, Mathilde Brandt, Eduard von Winterstein | Cinematography: Axel Graatkjær, Curt Courant | Art Directors: Svend Gade, Siegfried Wroblewsky |Costume: Hugo Baruch, Leopold Verch

In this daring adaptation of William Shakespeare’s renowned play, Hamlet is portrayed as a woman, a princess who is forced to dress as a man by her conniving mother. The rest of the film is about Hamlet’s secret desire towards Horatio and her rivalry with Ophelia to win over his love.

Zapata’s Gang
Original title: Zapatas Bande

1914 / Germany / Black & White / 42’
Silent; with German intertitles and Turkish subtitles

Director: Urban Gad | Screenwriter: Urban Gad | Cast: Asta Nielsen, Fred Immler, Senta Eichstaedt | Cinematography: Karl Freund, Axel Graatkjær, Guido Seeber | Art Director: Fritz Seyffert

While Zapata’s gang plunders the villages of North Italy, a German film crew wanting to shoot a heist film in Italy, has all sorts of misfortune in a country whose language they don’t speak a word of. After having their clothes stolen by the real gang during filming, the actors lose their way and instil fear in each village they visit because of their costumes. Meanwhile, a young woman named Elena falls in love with an actor whom she mistakes for a Zapata and runs away from home.
A film from the holdings of the Friedrich-Wilhelm-Murnau-Stiftung in Wiesbaden.
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The ABC of Love
Original title: Das Liebes ABC

1916 / Germany / Black & White / 43’
Silent; with English intertitles and Turkish subtitles

Director: Magnus Stifter | Screenwriters: Martin Jørgensen, Louis Levy | Cast: Asta Nielsen, Magnus Stifter, Ludwig Trautmann | Cinematography: Carl Ferdinand Fischer

One of the most well-known examples of Asta Nielsen’s performative and layered acting, “The ABC of Love” tells the adventures of a young woman who dresses up as a man and steps into the Parisian nightlife with the hopes of turning her fiancé into the man of her dreams.

The Abyss
Original title: Afgrunden

1910 / Denmark / Black & White / 38’

Silent; with English intertitles and Turkish subtitles

Director: Urban Gad | Screenwriter: Urban Gad | Cast: Asta Nielsen, Robert Dinesen, Poul Reumert, Emilie Sannom | Cinematography: Alfred Lind | Choreography: Anna Jeannette Tardini

Magda Vang, a music teacher, is engaged to a vicar’s son named Knud. One day, she falls in love with Rudolph, the star of the circus that has recently arrived in town, and leaves everything behind to go after him. Soon betrayed and heartbroken, the young woman will perform her final dance to prove her love.

One of Denmark’s oldest erotic melodramas, “The Abyss” features a hypnotic performance by Asta Nielsen and the enticing “gaucho dance” sequence which was censored in its day, and it is one of the earliest treasures of cinema.
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The Black Dream
Original title: Den sorte Drøm

1911 / Denmark / Black & White / 53’
Silent; with English intertitles and Turkish subtitles

Director: Urban Gad | Screenwriter: Urban Gad | Cast: Asta Nielsen, Valdemar Psilander, Gunnar Helsengreen, Ellen Holm | Cinematography: Adam Johansen | Production Design: Emil Poulsen

A famously beautiful circus acrobat Stella has two suitors: Young and handsome Count Waldberg and old and clumsy jeweler Hirsch. When Stella prefers Waldberg over Hirsch, he gets mad and makes the Count extremely indebted after challenging him to a gambling duel. Set on saving her lover’s honor, Stella plans a dangerous game.

The Film Primadonna
Original Title: Die Film-Primadonna

1913 / Germany / Black & White / 17’
Silent; with English intertitles and Turkish subtitles

Director: Urban Gad | Screenwriter: Urban Gad | Cast: Asta Nielsen, Paul Otto, Fritz Weidemann, Fred Immler | Cinematography: Axel Graatkjær, Karl Freund | Production Design: Fritz Seyffert

Ruth Breton, a film star dedicated to her art, is quick to fall in love. A lot. When Ruth falls in love with a gambler named Von Zornhorst while she is still together with the director Walter, she will pay a heavy price for her choice.

Originally, 1429 meters long, but of which only 278 meters remaining today, this 1913 film still manages to mesmerize with the surviving 17-minute piece.
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The Decline (Downfall)
Original title: Der Absturz

1923 / Germany / Black & White / 84’
Silent; with German intertitles and Turkish subtitles

Director: Ludwig Wolff | Screenwriter: Ludwig Wolff | Cast: Asta Nielsen, Albert Bozenhard, Gregori Chmara, Adele Sandrock | Cinematography: Axel Graatkjær, George Krause | Production Design: Fritz Seyffert, Heinz Beisenherz

Kaja Falk is a variety star at the peak of her career. Her lover Peter, a young fisherman, claims responsibility for a murder Kaja committed and is sentenced to ten years in prison. Touched by this gesture, Kaja promises to be faithful to her love and wait for him. However, the years won’t be easy on Katja.

By Haug / Kaegi / Wetzel

There is a crisis! And in times of global crisis, it's all about global cooperation. Nevertheless, this time the crisis is being dealt with locally - on behalf of the world: at a conference that no one needs to book a flight or mount a train for. A performance to which the invited experts and speakers do not appear physically, but are represented by local people who only receive their script at the beginning of their presentation. In CONFERENCE OF THE ABSENT, the audience observes people from their own city as they take on the identity of an absent conference speaker.
Completely without CO2-emissions and bad Skype or Zoom connections, but with all the performative means of the theater, the contributions and contradicting theses on the consequences of globalization will be delivered into the theater space - and settle them within it.
The advantage of not being there - not having to be everywhere at all - becomes a joint play that can be experienced anew every evening. At the center of this game are people who become carriers of ideas and playfully acquire both biographies of experts as well as their thoughts. In this way, absence becomes an added value because it creates space for new enrollments and unexpected perspectives. Ghostwriters and speechwriters, co-authors and directors at the same time, Rimini Protokoll turns documentary co-authorship into remote directing.

Concept / Text / Direction: Helgard Haug, Stefan Kaegi, Daniel Wetzel
Video- and Light design: Marc Jungreithmeier
Sound design: Daniel Dorsch
Research / Dramaturgy: Imanuel Schipper, Lüder Pit Wilcke
with the voice of: Nadja Stübiger
and thee prompting voices of: Henriette Hölzel, David Kosel, Hans-Werner Leupelt und Karina Plachetka
Cooperation political-cultural education: Dr. Werner Friedrichs
Production Management: Epona Hamdan
Production Management touring: Vera Nau
Dramaturgy Assistance: Sebastian Klauke
Directing Assistance: Lisa Homburger and Maximilian Pellert
Stage Assistance: Maksim Chernykh
Production Assistance: Federico Schwindt
Technical Director Touring: Joscha Eckert, Bodo Gottschalk, Marc Jungreithmeier
Sound Operator Touring: Aaron Ghantus, Fabian Tombers

A production of Rimini Apparat
In co-production with Staatsschauspiel Dresden, Ruhrfestspiele Recklinghausen, HAU Hebbel am Ufer (Berlin) and Goethe-Institut.
The concept creation was funded by the Federal Agency for Civic Education.

Limited Capacity
Workshop language: English
After the ticket purchase, please fill this form in order that we can approve your submission.  
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The city as a stage - coding as a tool How can theatre go on tour in a sustainable way, without touring too many people and stage designs? how to develop formats of international collaboration with a smaller carbon footprint? What’s the role of technology in offline theatre connecting audiences in most immersive ways? What is the role of public space for performances?

Welcome to the grey zone between reality and fiction. Allow documentary material and theatrical interventions to seduce you into complex topics like climate change or European politics. Stefan Kaegi will show and comment on short videos on recent productions of the german theatre label Rimini Protokoll including 100 statistically chosen citizens as well as international weapon dealers and immersive spaces remembering the legacies of people after the end of their lives. And the workshop will try out practically some modular forms of production, make the artists participate in actions with performative apps and innovative formats for performing audiences.

Important Note: Participation in the workshop is limited. To participate, you must fill the motivation letter in English.

By Haug / Kaegi / Wetzel

There is a crisis! And in times of global crisis, it's all about global cooperation. Nevertheless, this time the crisis is being dealt with locally - on behalf of the world: at a conference that no one needs to book a flight or mount a train for. A performance to which the invited experts and speakers do not appear physically, but are represented by local people who only receive their script at the beginning of their presentation. In CONFERENCE OF THE ABSENT, the audience observes people from their own city as they take on the identity of an absent conference speaker.
Completely without CO2-emissions and bad Skype or Zoom connections, but with all the performative means of the theater, the contributions and contradicting theses on the consequences of globalization will be delivered into the theater space - and settle them within it.
The advantage of not being there - not having to be everywhere at all - becomes a joint play that can be experienced anew every evening. At the center of this game are people who become carriers of ideas and playfully acquire both biographies of experts as well as their thoughts. In this way, absence becomes an added value because it creates space for new enrollments and unexpected perspectives. Ghostwriters and speechwriters, co-authors and directors at the same time, Rimini Protokoll turns documentary co-authorship into remote directing.

Concept / Text / Direction: Helgard Haug, Stefan Kaegi, Daniel Wetzel
Video- and Light design: Marc Jungreithmeier
Sound design: Daniel Dorsch
Research / Dramaturgy: Imanuel Schipper, Lüder Pit Wilcke
with the voice of: Nadja Stübiger
and thee prompting voices of: Henriette Hölzel, David Kosel, Hans-Werner Leupelt und Karina Plachetka
Cooperation political-cultural education: Dr. Werner Friedrichs
Production Management: Epona Hamdan
Production Management touring: Vera Nau
Dramaturgy Assistance: Sebastian Klauke
Directing Assistance: Lisa Homburger and Maximilian Pellert
Stage Assistance: Maksim Chernykh
Production Assistance: Federico Schwindt
Technical Director Touring: Joscha Eckert, Bodo Gottschalk, Marc Jungreithmeier
Sound Operator Touring: Aaron Ghantus, Fabian Tombers

A production of Rimini Apparat
In co-production with Staatsschauspiel Dresden, Ruhrfestspiele Recklinghausen, HAU Hebbel am Ufer (Berlin) and Goethe-Institut.
The concept creation was funded by the Federal Agency for Civic Education.

By Haug / Kaegi / Wetzel

There is a crisis! And in times of global crisis, it's all about global cooperation. Nevertheless, this time the crisis is being dealt with locally - on behalf of the world: at a conference that no one needs to book a flight or mount a train for. A performance to which the invited experts and speakers do not appear physically, but are represented by local people who only receive their script at the beginning of their presentation. In CONFERENCE OF THE ABSENT, the audience observes people from their own city as they take on the identity of an absent conference speaker.
Completely without CO2-emissions and bad Skype or Zoom connections, but with all the performative means of the theater, the contributions and contradicting theses on the consequences of globalization will be delivered into the theater space - and settle them within it.
The advantage of not being there - not having to be everywhere at all - becomes a joint play that can be experienced anew every evening. At the center of this game are people who become carriers of ideas and playfully acquire both biographies of experts as well as their thoughts. In this way, absence becomes an added value because it creates space for new enrollments and unexpected perspectives. Ghostwriters and speechwriters, co-authors and directors at the same time, Rimini Protokoll turns documentary co-authorship into remote directing.

Concept / Text / Direction: Helgard Haug, Stefan Kaegi, Daniel Wetzel
Video- and Light design: Marc Jungreithmeier
Sound design: Daniel Dorsch
Research / Dramaturgy: Imanuel Schipper, Lüder Pit Wilcke
with the voice of: Nadja Stübiger
and thee prompting voices of: Henriette Hölzel, David Kosel, Hans-Werner Leupelt und Karina Plachetka
Cooperation political-cultural education: Dr. Werner Friedrichs
Production Management: Epona Hamdan
Production Management touring: Vera Nau
Dramaturgy Assistance: Sebastian Klauke
Directing Assistance: Lisa Homburger and Maximilian Pellert
Stage Assistance: Maksim Chernykh
Production Assistance: Federico Schwindt
Technical Director Touring: Joscha Eckert, Bodo Gottschalk, Marc Jungreithmeier
Sound Operator Touring: Aaron Ghantus, Fabian Tombers

A production of Rimini Apparat
In co-production with Staatsschauspiel Dresden, Ruhrfestspiele Recklinghausen, HAU Hebbel am Ufer (Berlin) and Goethe-Institut.
The concept creation was funded by the Federal Agency for Civic Education.