Based on an idea by the journalist Bobby Rafiq and the composer Yoav Pasovsky, this project approaches the topic of everyday racism. Using staged interviews conducted by taz journalist Ebru Tasdemir, director Robert Lehniger, together with his designer Irina Schicketanz, dramaturg Marion Hirte and the composer, developed a walk-in installation. The scenes and situations that are developed from this thereby reflect daily moments of people with a migration history who were born and raised in Germany – scenes and situations in which they are denied their affiliation to this country time and again, in which they are stigmatized and marked as being different. For the physical attacks and assaults on refugee homes, Jewish cemeteries, and non-white people precede subtler forms of exclusion. In order to bring these experiences closer to a predominantly white, bourgeois audience and to let them share these experiences emotionally, this music theater project breaks the classical separation of stage and auditorium and lets the audience immerse themselves in a labyrinthine installation with live scenes and virtual reality via the appropriate headsets. The audience is thus directly involved in situations and scenes in which they can experience everyday racism as the targets of such racism. The musical composition also works with the documentary material and draws attention to a situation that those who are affected by it experience as a steadily worsening situation of upheaval. Being “in front.” Whether this “in front” can be a “point of NEW or NO return” is dependent upon our actions. For the composer Yoav Pasovsky the starting point was his own biography: born and raised in Israel, he emigrated to Berlin at the age of 23 and founded a family there. His great-grandparents on his father’s side fled from Munich to Palestine in 1935. In view of the political and social developments in recent years, he is increasingly asking himself whether Germany is still a safe country for him and his family. Until now he had never been able to completely understand how his great-grandparents must have felt at that time.
Duration: ca. 70 minutes (Admission every 20 minutes for 9 people. Last admission 21:20)
The performance is recommended from the age of 13 years.
A production fo the Munich Biennale
In cooperation with the Otto Falckenberg Schule
Some “NEW Return” results faster and more unexpected than expected. Due to the ubiquitous effects of the Corona Pandemic, the Munich Biennale 2020 will for the first time become a dynamic festival. Premieres that cannot be released in Munich in May 2020 due to the pandemic will be premiered elsewhere, or in Munich at a different time.
The Munich Biennale will not stream performance-replacement pieces. It will not go online as a whole. The Internet is used primarily to provide impulses for later, physically real performance situations. We assume that many of the productions planned for the 2020 Biennial will see the light of day over the next eighteen months. The theme and spirit are to take place in the “Salon of Wonder and Views” as a unifying element over a longer period of time in various locations in a pointed manner.
In all existential crises, the arts have been a (co)decisive moment of renewal, of rethinking, of reflection, of departure, of conversion, of NEW Return, for each individual as well as for the community. Thus the dynamic Munich Biennale 2020/2021 is, with its motto “Point of NEW Return”, a metaphor for the necessary flexible handling of our present and a model for mobility, topicality and relevance of the arts.