Bambi jokes, Trump imitations and amoeba porn: at the Science Slam, scientists try everything to package their discipline in an entertaining way for the audience, even if it involves physics. Any tools are allowed, from Power Point to expressive dance and descriptive experiments. Only the time slot is limited: the young scientists have precisely ten minutes. At the end, the person who has delivered the best presentation is not decided by a jury, but by the audience itself.

Science-slam.com

By Kante and Khoi Khonnexion

The members of the band Khoi Khonnexion from Cape Town identify themselves as descendants of the Khoisan, the “first humans” who inhabited the entire area of southern Africa in pre-colonial times. In South Africa, their culture fell victim to Dutch colonial rule and, in Namibia, to the German genocide of the Nama (the Khois of Namibia).

In a music-theatre project with the Hamburg pop art band Kante, Khoi Khonnexion and the poetry artist Nesindano “Khoes” Namises explore the rebellious power of fairy tales, poetry and folk tales. To this day, these narratives tell stories about the ghosts of German soldiers in the Namibian desert, as well as of liquid stones and phone calls with ancestors. In a re-enchantment of the world, the ventilation pipes, sockets and loudspeaker towers will be opened in Kammer 2. The amorphous stories, suppressed dreams and repressed past flow back into our present.

In German, English, Afrikaans and Nama with German and English Surtitles.

With Nikola Duric, Nesindano Namises, Music/Text Khoi Khonnexion & Kante, Sound Peta Devlin, Juliette Wion, Stage/Light Joscha Eckert, Buildings Christian Wenzel, Graphic Patrick Zimmer, Costumes/Textiles Ruth May, Research/transnational mediation Claude Jansen, Poetry Nesindano Namises, Direction Nikola Duric, Production Olaf Nachtwey, Johanna Thomas, Assistance Judith Bethke, Amelia Langenhohl, Outside Eye Anta Helena Recke, Team Cape Town: Production Hannah Löwenthal, Assistance: Lambro Tsiliyannis, Edda Sickinger

“Professor Bernhardi” is a realistic depiction of the in-house machinations of academic, political and hospital life at the turn of the century – and of life in general. Central to this is the growing anti-Semitism used by numerous opponents of Professor Bernhardi, a Jew, to pursue their own career goals and oust Bernhardi from his position. Catholicism merely serves to conceal their unscrupulous and selfish actions. In “Professor Bernhardi”, Schnitzler negotiates a struggle between enlightenment, rationality and dogmatism, and focuses on the question of the how to “do the right thing”. In her play “Dr. Alici”, Olga Bach takes up Arthur Schnitzler’s conflicts and questions and adapts them to our times. Where are the lines of conflict between ethics and politics today? How far are people willing to go for their careers? And how do decisions made today affect the future? With bizarre figures and a dystopian setting, she takes a critical look at our present. The hospital becomes the police headquarters and Professor Bernhardi becomes Dr. Alici. A woman replaces the male character, and Judaism is swapped for Islam. The conflicts are not the same, just as the past does not repeat itself. But the creeping changes in human coexistence and collaboration, the subtle mechanisms with which racism becomes socially acceptable, and the corruption of politics find their contemporary counterpart in “Dr. Alici “. The setting is Bavaria in the year 2023, two months before the Bavarian state elections. The production is directed by Ersan Mondtag, who has worked with Olga Bach on several occasions – and now for the second time at the Münchner Kammerspiele – and whose productions “Tyrannis” and “Die Vernichtung” (also by Olga Bach) were invited to the Berlin Theatertreffen.

ATTENTION: strobe effects are used in this performance. Some frequncies might cause epileptic attacks.

Tip: Scroll to the bottom of the page in order to obtain the programme as PDF.

“To find out what holds the world together at its core,” is Faust’s mission as he sets out on a quest of intoxication, rejuvenation, sex and wizardry. “I want to gain more in this hour than in a year’s monotony.” Faust abandons all reason (or at least tries), relinquishes control and hopes to understand the world at last by living in the fast lane. Director Leonie Böhm says: “I am Faust” and, together with the actors Annette Paulmann, Julia Riedler and Benjamin Radjaipour, she excavates real emotions in the old Faust text. Just as the cloud rappers nowadays add a “young” to their artistic names, indicating not only their literal youth, but also their fresh way of relating to the world and relationships within it, “Yung Faust” wants to reclaim the vulnerable immediacy of the much-too-often recited sentences of the powerful old wise man (Goethe). Real quotes, real encounters: “My breasts are starting to burn!”

Tip: Scroll to the bottom of the page in order to obtain the programme as PDF.

Nirvana delivered much more than the sound of a generation with its grunge music. They expressed a desperate will to live. Don’t be down – be angry! Whether they wanted it or not, their loud protest, of all things, became mainstream in the music industry. Consequently, bassist Krist Novoselić yelled “Grunge is dead” at the concert on March 1, 1994 in the former airport in Riem. The Munich concert was the band’s last public appearance. After the concert all further European dates were cancelled. One month later, on April 5, 1994, after being discharged from rehab, Cobain was found dead at his home in Seattle, Washington.

Damian Rebgetz takes up the songs of Nirvana’s last concert. As a re-enactment, “Nirvanas Last” examines what it means to play their concert again, 25 years after the band’s last performance. How could the anti-capitalist counterculture that made Nirvana so successful become the new mainstream? What does it mean to bring the former youth-protest culture to Kammer 1 of the Münchner Kammerspiele? The show’s musical arrangements by Paul Hankinson result in a variety of genres between art song and grunge. The song lyrics from Nirvana’s last concert were translated into German for the performance by Ann Cotten.

TIP: Scroll to the bottom of the page in order to obtain the programme as PDF.

Coming soon.