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A Play by Anka Herbut
A contemporary dystopian financial thriller. — Cinematic images and a shaking sound challenge the limits of our perception
Following his spectacular installation “Respublika”, rising Polish star Łukasz Twarkowski creates another of his masterful dramatic worlds poised between film and stage.
Working with the playwright Anka Herbut, Twarkowski tackles the bizarre story of the collapse of the Munich financial service provider Wirecard. The biggest financial scandal in the history of the Federal Republic of Germany revolves around virtual billions in turnover and the seductive fantasy of a world-class German tech giant which ultimately sought to play in the Champions League of Silicon Valley. The play with different levels of reality became a frequently used motif in utopian-fantastic stories in the 1960s. Daniel F. Galouye had already foreseen a “world on the wire” in his novel “Simulacron - 3”, first published in the USA in 1964: The struggle of the individual against a seemingly omnipotent faceless system that makes the individuals living within it dance like puppets on a wire. A political parable of timeless validity that can be found in film adaptations of Rainer Werner Fassbinder’s “World on a Wire” and “Starship Enterprise - The Next Generation”, among others, as well as in the film trilogy “Matrix” made between 1999 and 2003. Now that artificial intelligence increasingly determines all areas of life, these dystopian visions of the future are gaining in topicality.
On the ground of this philosophical mind game of fictional existence and reality of the fantastic literature of the 1960s, Łukasz Twarkowski and his team condense the Munich thriller about Wirecard into a completely new story. A rousing evening of theatre about the limits of our perception.
Awarded with the German theatre prize DER FAUST in the category “Sound and Media”. More info HERE.
„Auch die Zuschauenden sind hin- und hergerissen zwischen Theater und Film. (…) Zwei Kamerafrauen folgen den Angestellten von schillernder Durchschnittlichkeit auf Schritt und Tritt auch in die Räume und Fluren dahinter. Deren Aufnahmen finden sich als ganz großes Kino auf der Projektionsfläche darüber als grandios inszenierte Bilder im Imax-Format und in Echtzeit wieder.“
„(…) und tatsächlich wechselt die Soundkulisse (Lubomir Grzelak) zwischendurch auf volle Dröhnung. Da vibrieren die Sitzreihen, und die Beats pulsieren durch die Eingeweide, während das Licht nur so flackert.“