Markus&Markus Theaterkollektiv: Ibsen: Gespenster – Sophiensæle | Independent Theater in Berlin
Markus&Markus Theaterkollektiv:
Ibsen: Gespenster
Ibsen: Gespenster
A societal discourse collides together with a drama, a drama in which the main character is already dead. In Ibsen’s drama the protagonist Osvald asks his mother to assist him with euthanasia – but she is hesitant. Markus&Markus have casted the role of Osvald with a person who is actually planning their own death with an established organization. On April 1st 2014 they met with their protagonist and spent every day together for a month. On May 22nd they attended her funeral.
by and with Markus&Markus (Katarina Eckold, Lara-Joy Hamann, Manuela Pirozzi, Markus Schäfer, Markus Wenzel) Guest Margot SUPPORT Miriam Walther Kohn
A production of Markus&Markus in coproduction with Gessneralle Zürich, ROXY Birsfelden and Mousonturm Frankfurt. Founded by Stadt Zürich Kultur, Kanton Zürich, Migros Kulturprozent, Fondation Nestlé pour l’art, Ernst-Göhner Stiftung, Fachausschuss Theater und Tanz BS/BL.
photos © komun.ch
Markus&Markus is a theater collective that was founded in 2011 by students of scenic arts in Hildesheim. The group consists of Lara-Joy Bues, Katarina Eckold, Markus Schäfer and Markus Schmans. All four develop the works together and collaboratively - from the concept idea to the research/shooting phase to the development of the individual building blocks such as text, music and scenic realization. There are also specializations: Lara-Joy Bues and Markus Schäfer take care of organizational matters in addition to their artistic work. Katarina Eckold is responsible for the video. Markus Schmans and Markus Schäfer present the work on stage. Together, the collective stands for a unique form of documentary theater and passionate investigation.
The works are characterized by intensive research, the results of which, captured on video, form an elementary component of the productions. However, the collective is not interested in documenting reality and explaining the world - instead, the theater context is crucial for accessing reality.
