IN THE PIPELINE
Am Königsweg/ MACHT#1 focuses on the duality of the ruler and the crowd. Taking a stock. Without the crowd, the complying people, without the lukewarm multitude, that is following the words of the powerful so glowingly, there is no leader.
Am Königsweg/ MACHT#1 pursues the hypothesis: without crowd, no power.
But also the question, what are people willing to leave behind in order to belong to this crowd?
What words are sparking the big march into the complying community?
What hope is awakened when the direction is called "backwards"?
Is the human being really so overwhelmed by an indirect-constant publicness?
And what has all that to do with the deep human fear of ineffectivenes and powerlessness?
Surrender, eloquence, blinding, glory, repetition - all ingredients for a successful leadership over a crowd of identity-hungry, finally-no-more-disoriented, however-upright citizens.
Two performers, 32 screens for video projection and a drummer are the frame for the analysis of the sure up-to-the-minute and ever-present issue of POWER.
An actress and a dancer are becoming allegories of leading and complying. Words are going to be a main element of power and movement a main element of complying. Or does is have to be the other way around?
Who has the power or who is powerful? How does power emerge? Why do we surrender? Why do we love the crowd?
We are going to investigate the system of super- and subordination, which qualities do enable the one or the other - and what is actually there to win.
Starting as a duet the new production of the guts company becomes a piece of the many and enhances the medium of video projection to be a third stage partner.
With 32 screens in total the real crowd stays digital and therefore in the hybrid interspace which allows it to change between transparency, permeability and ambiguity as well as claiming again and again to be crowd here, comment there, power there.
The text focuses Elfriede Jelinek´s Am Königsweg. Her entangled way of writing finds itself in the winding of moving bodies, at the same time the text leaves open on which side one stands, who is looking up, who is looking down, who has the power and who agitates in its front yard.