Adele Dittrich Frydetzki, Kristina Dreit, Marten Flegel, Anna Froelicher, Charlotte Grief, Manuel Melzer and Felix Worpenberg first met when studying Applied Theatre and Cultural Studies at the University of Hildesheim and decided to extend their acquaintanceship beyond this moment. They have been working together since 2011 on joint performance projects in which they adopt a collective practice of collaboration that is added to in ever-changing constellations.  

In the work it creates for the theatre, the group takes an interest in powerful social and political narrative forms, gestures and images less than 300 dpi in order to imitate them, deconstruct them and transplant them into new contexts. Lofty (heroic) tales are shredded, remixed and spat out in a new form (Steppengesänge I and Il Grande Torino), documentary-style pictorial conventions are dissected as an instrument of power by being repeated in a slightly different manner (Steppengesänge II) and the gesture of participation is imitated as a model (as most recently in the production BABIES COME HOME). 

The group’s works have been shown at various theatres and festivals, including Treibstoff Theatertage Basel, Theaterhaus Hildesheim, Schwankhalle Bremen, Bâtard Festival Brussels, Het Veem Amsterdam, HAU Berlin, Roxy Basel, Staatstheater Braunschweig’s Fast Forward Festival and Kana Teatr Szczecin. 


Adele (Munich, 2016): What kind of fix have we gotten into? 
Shen Te (Szechuan, early 20th century): How can I be good when everything is so expensive? 
Brecht (Sweden, 1939): How can one be good and still survive? 
Group (on www, 2016): What kind of question is that? 

In its residency entitled SHANZEZUAN, the group tackles two sets of issues: the first is Brecht’s much-performed, made-in-exile play The Good Person of Szechuan, which forms part of the theatrical canon. The parable about a tobacco shop owner whose own generosity, combined with economic and social conditions, threatens to ruin her life is used to explore the possibility of remaining good when all around is evil. The second subject area is “Shanzai”, a made-in-China phenomenon that describes brand counterfeiting – a process in which Western mass consumer goods are transformed into lookalike copies. Harry Potter becomes "Harry Potter and the Porcelain Doll" (Harry speaks perfect Chinese but has problems eating with chopsticks), Adidas becomes Dadidas or Adadis. These two starting points could hardly be more different, yet they are linked by three strong catchwords; relations between China and Germany, the logic of the global market economy and the subversive, theatrical potential of transformation.




01 - 16 MAR 2017