{"id":349,"date":"2009-04-01T22:11:24","date_gmt":"2009-04-01T20:11:24","guid":{"rendered":"https:\/\/www.schlingensief.com\/weblog\/?p=349"},"modified":"2009-04-01T22:11:24","modified_gmt":"2009-04-01T20:11:24","slug":"schlingensief-beim-holland-festival-2009","status":"publish","type":"post","link":"https:\/\/www.schlingensief.com\/weblog\/?p=349","title":{"rendered":"„EINE KIRCHE DER ANGST VOR DEM FREMDEN IN MIR“ BEIM HOLLAND FESTIVAL 2009"},"content":{"rendered":"

„Eine Kirche der Angst vor dem Fremden in mir“ vom 5. bis 8. Juni zu Gast beim 62. Holland Festival in Amsterdam<\/strong>
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\nVorstellungen am 5., 6., 7. und 8. Juni 2009, Westergasfabriek Zuiveringshal West, Amsterdam<\/p>\n

Weitere Informationen und Tickets unter http:\/\/www.hollandfestival.nl<\/a><\/strong><\/p>\n

Projektwebseite: www.kirche-der-angst.de<\/a><\/strong>
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\nINFORMATION<\/strong><\/p>\n

No other director makes such overt use of politics and social scenarios as Christoph Schlingensief (1960), from his first films in the 1980s through his theatre works in the 90s and public space performances. Eine Kirche der Angst vor dem Fremden in mir (Church of Fear) is a very personal production in which a crucial event in Schlingensief\u2019s life (he was diagnosed with lung cancer in 2008) is the source for a ritual that brings together extreme contradictions. A church will be constructed in the Westergasfabriek\u2019s Zuiveringhal, whereby the performance will take on the character of a Requiem mass. Schlingensief\u2019s body and his \u2018life\u2019s art\u2019 needs to be comforted, his demons confronted with rituals taken from the Catholic church and performances by the Fluxus movement.
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\nBACKGROUND INFORMATION<\/strong><\/p>\n

The German film and theatre director Christoph Schlingensief (1960) was diagnosed with a particularly malignant form of lung cancer in January 2008. And he had never smoked. His left lung was removed and he then underwent intensive chemotherapy and radiotherapy. \u201cI felt death, it sat in me. I fought.\u201d<\/p>\n

His most important weapon in the fight was his ‚Fluxus-oratorio‘ Eine Kirche der Angst vor dem Fremden in mir, first performed during the Ruhr-Triennale in Duisburg in September 2008. He continually thought about the following phrase during the entire period of his illness: \u201cIf your life turns into a tragedy, then try to watch it like a spectator.\u201d He dictated for hours into his tape recorder, this resulting in almost 500 pages of typescript. Short sections of this would finally be used in the production in which his illness played the central role.<\/p>\n

It was primarily anger that raged in him during the entire process. \u201cMy trust in God and my love for life have both received the deepest of wounds. An unimaginable quantity of filth now streams from my pores, my brain and my nose. But I believe in God; I have always believed in him.\u201d The director renowned as a provocateur, who staged pornographic scenes in the Burgtheater in Vienna, who dragged the gravely-ill onto the stage and who wallowed in decay and putrefaction, nonetheless believes in God. But his anger needed an object.<\/p>\n

\u201cMy God, why have you abandoned me?\u201d Using Schlingensief\u2019s pre-recorded texts as a point of departure, the central questions of Eine Kirche der Angst are \u2018What is my situation with God? How can I make contact with him? Why do I think that I am bad and why do I feel guilty?\u2019 \u201cThese thoughts always bring me back to [the German artist] Joseph Beuys, who said \u2018It is only when Jesus was abandoned that insight into oneself could begin.\u2019 It is something like that that I am experiencing now.\u201d<\/p>\n

Eine Kirche der Angst has a strong resemblance to a Requiem Mass, with the music, images and rituals that are proper to it. The hall is filled with pews, in which the audience take their places. Processions stream through the central aisle to the altar. On the left stands a monstrance in which an X-ray photo of Schlingensief\u2019s impaired lungs is displayed. 8mm films from his childhood are projected onto a white screen. We see scenes from his earlier productions alongside fragments of films from the Fluxus movement \u2014 a 1960s movement that attempted to blur the boundaries between the visual arts and music \u2014 and the worm-eaten carcass of a hare from his Bayreuth production of Parsifal (2004). Schlingensief and his illness are the central focus, with a homage to Beuys in the motto: \u201cShow me your wounds. He who displays his wounds shall be healed. He who hides them shall not be healed.\u201d He builds himself a church and calls to God from within it. \u201cBut the performance is also an act of mercy: a man shares his fear; he makes it as freely available to us as a surplus of heat.\u201d (Die Zeit) We hear the text directly from the tapes that Schlingensief recorded as well as spoken by two actresses underpinned by a child\u2019s voice. There is not only fear, but also anger, although that is possibly the same thing. At the end of the evening the choirs blend together and there even seems to be a possibility of a reconciliation with fate, with the eternal cycle of birth and death.
\n\"(c)
\nCREDITS<\/strong><\/p>\n

concept and direction: Christoph Schlingensief
\nstage design:\tThomas Goerge
\nstage design:\tThekla von M\u00fclheim
\ncostume design: Aino Laberenz
\nlighting design: Voxi B\u00e4renklau
\nediting film, video: Heta Multanen
\nsound design: David Gierth
\ndramaturgy: Carl Hegemann
\ncast: Margit Carstensen, Irm Hermann, Mira Partecke, Komi Mizrajim Togbonou, Stefan Kolosko, Karin Witt, Horst Gelonnek, Kerstin Grassmann, Norbert M\u00fcller, Achim von Paczensky, Klaus Beyer
\nsinger: Friederike Harmsen, Ulrike Eidinger
\ncomposition \/ percussion: Michael Wertm\u00fcller
\nrepititeur \/ organ player: Dominik Blum
\nproject management: Ulli Stepan
\nchoir: Gospelchor Angels Voices
\nproduction: RuhrTriennale<\/p>\n","protected":false},"excerpt":{"rendered":"

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