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Technik HAU3 Bhnenmeisterin: Sabine Krien Bhnentechnik: Sabine Krien, Marc Seiffert Licht: Boris Meier, Anna Lienert,

Marc Zeuske Ton/Video: Ralf Krause Dauer: 1:45 (keine Pause) Sprache: Englisch und Deutsch Produktion: Ariel Efraim Ashbel. Koproduktion: HAU Hebbel am Ufer, StoneNest (London). Gefrdert aus Mitteln des Hauptstadtkulturfonds und der Botschaft des Staates Israel in Berlin.

Ariel Efraim Ahbel and friends

ALL WHITE PEOPLE LOOK THE SAME TO ME: Notes on the National Pornographic

HAU
HAU Hebbel am Ufer Programm und Tickets: www.hebbel-am-ufer.de Tageskasse HAU2: montags bis samstags 15-19 Uhr Tel +49 (0)30.259 004 -27 HAU1 Stresemannstrae 29, 10963 Berlin HAU2 Hallesches Ufer 32, 10963 Berlin HAU3 Tempelhofer Ufer 10, 10963 Berlin

Premiere: 30.5.2013, 20:00 / HAU3 Weitere Vorstellungen: 31.5.2.6.2013, 20:00 / HAU3

Ariel Efraim Ahbel and friends

ALL WHITE PEOPLE LOOK THE SAME TO ME: Notes on the National Pornographic
Ein Abend von Ariel Efraim Ashbel und Romm Lewkowicz Regie: Ariel Efraim Ashbel Recherche und Konzept: Romm Lewkowicz Von und mit: Efrat Aviv, Jessica Gadani, Dolores Hulan, Tatiana Saphir, Jan-Sebastian uba Mit Gastauftritten von: Nikola Duric, Ligia Manuela Lewis, Veit Sprenger The Invisible Choir: Michael Bednaric, Katja Bienert, Gerhard Braisch, Gay Frazier, Peter Gawinski, Anne-Kerstin Hege, Ulrike Krug, Charlotte Kgler, Katharina Leppert, Julia Lerch, Irene Oberrauch, Bln Ryan, Dorit Ahrens-Sliwka, Ottmar Sliwka, Yaneev Topyol Musikalische Leitung: Maya Dunietz Kontrabass, Bassgitarre, Schlagzeug, Gesang: Micha Kaplan Klarinette, Saxophon, Flte: Anat Cohavi Bhne: Alona Rodeh Bhnenbau: Jrg Fischer Kostme: Sandra Fink, Alona Rodeh Haare & Make-up: Sandra Fink Kostm Anfertigung: Flavia Romera Licht: Benny Hauser Video: Daphna Keenan Fotos: Dorothea Tuch Logo: Ishai Mishory Regieassistenz: Mia Sellmann Produktionsassistenz: Sonia Zafer Smith Dramaturgische Begleitung: Stefanie Wenner Produktion: bjrn & bjrn AWP dankt: Juan Chamie (EXIT), Matthias Fleischer, Franziska Katharina Huhn, Inna Kovalyova (Stonenest), Capella Kreuberg, Klaus Krvers, Doreen Kutzke (Jodelschule Kreuzberg), Lisa Lucassen, Hannah Myers (StoneNest), Mad Kate (EXIT), Ruth Rosenfeld, Tamara Saphir, Wolfgang Seidel und Uri Shalev.

Tatiana Saphir (b.1975, Buenos Aires) is a Performer and a DJ, working between Buenos Aires and Berlin. Has worked with many film and theatre directors and studied Theater, Dance as well as Film and Theatre Theory in Argentina. In 2008 she created the show A Brief History of Argentinian Punk as part of the group TnT, established with her sister Tamara. She performed for various performance, theatre and dance makers including Santiago Blaum, Constanza Macras/Dorkypark, Nir de Volff, Dirk Cieslak/Lubricat, Zornige Menschen, andcompany&Co. and Federico Leon. Jan-Sebastian uba (b.1974, Berlin) is a performer, actor, DJ, karaoke-addict and mudwrestler. Has performed and collaborated with the Sophiensaele, HAU Hebbel am Ufer, Ballhaus Ost, Dock 11, Maxim-Gorki-Studio, Staatstheater Stuttgart, Dietheater Wien, Bregenzer Frhling, Adam-Mickewicz-Institut, Levontin 7, andcompany&Co., Peaches, Hans-Werner Kroesinger, Ulf Otto, Santiago Blaum, Lubricat, Bruno Cathomas, Aktionstheater Ensemble Wien, Showcase Beat Le Mot, Nir DeVolff, and many others. In film he played in "Totale Therapie", "Hysteria", "I'd Like To Die a 1000 Times", "Apokalypse I + II" and "Viva Europa".

Alona Rodeh (b.1979, Nahariah Israel) is a Tel Aviv based visual artist. Graduating the Bezalel Academy MFA program (2009), including exchange studies at RCAs Sculpture department, London - Rodeh's diverse practice relies on a wide range of media, constructing time-based installations, staging sculpture as action in space. Among others, Rodeh performed at 54th Venice Biennial, The Israel Museum, Plug In ICA, Winnipeg: She presented commissioned projects at the Israeli Center for Digital Art, Holon, Herzliya and Petach Tikva Museum of Art. She is currently showing a solo show at the Center for Contemporary Art (CCA) Tel Aviv and in 2013 will embark on a year AIR at Knstlerhaus Bethanien, Berlin. Rodeh designed sets and costumes for dance and theatre companies, such as Yasmeen Godder, Yossi Berg and Oded Graf, Barrie Kosky and others. She has been a leading collaborator on Ashbel's shows since 2003. Sandra Fink (b.1979, Buenos Aires) is a costume and make up designer based in Berlin and Buenos Aires. Fink studied Fashion Design in Buenos Aires University and Theatrical Make up and Hair in the Colon Theatre. Her costume and make up designs had been seen in theatre, photography and films. She was twice nominated for the Silver Condor Award to the Best Costume Design for the films "La Mirada Invisible" and "A Travs de Tus Ojos". Efrat Aviv (b.1982, Tel Aviv) is a performer in Tel Aviv's independent performance scene, has constructed and performed in nine of Asbhel's shows since 2000. Aviv graduated from the Nissan Nativ acting studio in Tel Aviv in 2005. She is a member of the Tziporela comedy company, founded with her classmates upon graduation. She has starred in numerous films and Israeli TV series, winning acclaim for her diverse acting roles including the National Theater (Habima) Best Upcoming Actress Award in 2007. Jessica Gadani (b.1984, Feura Bush New York) is a Berlin based singer/performer. Holds a degree in classical voice performance from Ithaca College in Upstate New York. Gadani sang in various opera productions as a Mezzo-Soprano in the USA, and for the past four years has been living and working as a freelance singer and performer in Berlin with various artists including Santiago Blaum and Jack Woodhead. Dolores Hulan (b. 1975, Austria) is a performer, choreographer and docent living in Brussels. Hulan studied Contemporary Dance and Pedagogy in the Anton Bruckner University (Linz) and did the Performance Educational Program in Leuven. Has been dancing and touring for various choreographers and companies, including: Esther Linley Dance Company, Bob Curtis Dance Company, Die Tanzenden, Guillermo Horta, Willi Dorner, Milli Bitterli, HushHushHush, Continuum/Brice Leroux and Mette Ingvartsen. She choreographed a string of solo shows and was awarded numerous project commisions including: VGC's trajectsubsidies, Vlaamse Overheid and the DanceWeb Scholarship.

All White People Look the Same to Me ist ein Experiment in fiktionaler Anthropologie. In seinem Deutschlanddebt untersucht der Regisseur Ariel Efraim Ashbel gemeinsam mit dem Anthropologen Romm Lewkowicz und einer internationalen Gruppe von Performern und Musikern, einem Hypnotiseur sowie einem unsichtbaren Chor die Erfindung von Alteritt als darstellerisches Mittel. In Ausbeutung einer Vielzahl von historischen, textuellen, visuellen und musikalischen Quellen bedient sich das Stck diverser Formen der Spektakel-Inszenierung von Vlkerschauen bis zum zeitgenssischen Dokumentationstheater und verschiebt den Blick vom Betrachteten zum Betrachtenden. Geschfts- und Theaterleute, Voyeure und Wissenschaftler bilden ein Kabinett weier Kuriositten und werden ihrer ewigen Unsichtbarkeit beraubt. Im Schwelgen in den Wnschen und Gefhlen, die die Suche nach dem Wahren entfacht, wird der Bildwerdungsprozess wissenschaftlich orientierter Unterhaltung in seiner fabelhaften Perversitt entlarvt. All White People Look the Same to Me (AWP) is an experiment in 'fictional anthropology'. In his German debut, director Ariel Efraim Ashbel embarks on a journey with anthropologist Romm Lewkowicz and an international group of performers, musicians, a potato sack and an invisible choir, to trace the evolution of the performative invention of alterity. Robbing a wide range of historical, textual, visual, and musical references, the piece exploits various modes of spectacle-making from Vlkerschau (human zoos), through to lecture performance, Disney and drag culture, to contemporary Documentary Theatre. The show is set against the backdrop of the re-emergence of the real, non-professional performers on the European stage brought by Documentary Theater. Like in the hay days of the human zoos and the colonial ethnological expositions, the spectacle value of performers lies, again, not in WHAT THEY DO, but in WHO THEY ARE. The crisis of representation has pushed the search for the dramatic into a multitude of peripheries, where a reality uncontaminated by mediation, interpretation and narration is imagined. And as the real performer emerges, the Theatre maker subsequently disappears. For, the visual pleasure that the real other performer generates, assumes degenerative effects to visibility of craftmanship and the labours of image-making. In AWP, we shift the gaze back from the examined to the examiners. Five noted white icons, Theatre masters, voyeurs and scientists, all board our cabinet of white curiosities, stripped from their everlasting invisibility. But this is more than a mere flip in the power relations that white objectification constitutes. Read under representational logic, the show's title turns out to be a misnomer; In spite of suggestion, the show is not about white people. In fact, it is not about anything. It is not SAYING anything but, instead, it is DOING many things. The title is an image that stands on its own, amassed along other images that we create, distort, transgress, and dismantle on stage. For as we indulge in the desires and passions that the quest for the REAL image ignites, the image-making process of scientific and documentary oriented entertainment is exposed in its perverse fabulousness.

To come to the point at once, I beg to say that I have not the least belief in the Noble Savage. I don't care what he calls me. I call him a savage, and I call a savage a something highly desirable to be civilised off the face of the earth. I think a mere gent (which I take to be the lowest form of civilisation) better than a howling, whistling, clucking, stamping, jumping, tearing savage. It is all one to me, whether he sticks a fish-bone through his visage, or bits of trees through the lobes of his ears, or bird's feathers in his head; whether he flattens his hair between two boards, or spreads his nose over the breadth of his face, or drags his lower lip down by great weights, or blackens his teeth, or knocks them out, or paints one cheek red and the other blue, or tattoos himself, or oils himself, or rubs his body with fat, or crimps it with knives. A wild animal with the questionable gift of boasting; a conceited, tiresome, bloodthirsty, monotonous humbug. Charles Dickens, The Nobel Savage, 1853. Aber bald stellte sich ein ernsthaftes Problem ein: Nicht die Produktionskosten waren es, die wurden bewilligt aber die Bedingungen waren fr mich knstlerisch untragbar. Die Gloria verlangte, dass alle Darsteller, auch die Rollen der arabischen Sklavenhndler und die der afrikanischen Neger, mit den deutschen Schauspielern besetzt wrden. Mir verschlug es den Atem. Zuerst dachte ich, das ist ein Scherz. Es war aber Ernst, und die Herren der Gloria Film bestanden darauf. () - ich erinnerte sie an mein Blaues Licht, in dem ich schon vor mehr als zwanzig Jahren die meisten Rollen von Laien spielen lie. Und nun sollten weie Schauspieler schwarz geschminkt werden ein unertrglicher Gedanke, der jeder Verpflichtung zur Dokumentation, noch dazu im ethnologischen Bereich, Hohn sprach. Leni Riefenstahl, Memoiren 1945-1987, 1995. Fascist aesthetics flows from a preoccupation with situations of control, submissive behavior, extravagant effort, and the endurance of pain; they endorse two seemingly opposite states, egomania and servitude. The relations of domination and enslavement take the form of a characteristic pageantry: the massing of groups of people; the turning of people into things; the multiplication or replication of things; and the grouping of people/things around an all-powerful, hypnotic leader-figure or force. Susan Sontag, Fascinating Fascism, 1975. Although an ethnographer may not aspire to more than the discovery of relative truths (since it is vain to hope to reach any final truth), the worst difficulty I have had to encounter was not at all of that kind: I wanted to go to the absolute limit of the primitive; had I not got all I wanted in these graceful Natives whom no one had seen before me, who would perhaps no be seen again after me? At the end of an exhilarating search, I had my savages, I asked for nothing more than to be one of them, to share their days, their pains, their rituals. Alas! They didnt want to have me, they were not prepared to teach me their customs and beliefs! They had no use whatever for the gifts I laid beside them, no use at all for the help I thought I could give! It was because of me that they abandoned their villages and it was only to discourage me, to convince me there was no point in my persevering, that they chose increasingly inhospitable sites, imposting ever more terrible living conditions on themselves to show me they would rather face tigers and volcanos, swamps, suffocating fog, elephants, poisonous spiders, than men. I think I know a good deal about physical suffering. But this is worst of all, to feel your soul dying. Georges Perec, La Vie mode d'emploi, 1978.

Ariel Efraim Ashbel (b.1982, Tel Aviv) is a Berlin based artist from Israel, who makes performances. Noted by the Israeli press as the enfant terrible of the Israeli Theater scene, he's been directing theater works since 2000. His work negotiates interdisciplinary offers for stage events, widening the gap between theater, dance, music and installation. Was the associate artistic director of the "IntimaDance" Festival for contemporary dance and performance in Tel Aviv's Tmuna Theater (2008-2010). Since 2011 he is based in Berlin, and has contributed to various projects in HAU Hebbel am Ufer, HZT (Uferstudios), Ausland, the Berlin Biennial, the Porn Film Festival, Transmediale and more. He also collaborates with colleagues as a performer and dramaturge. A graduate of the School of Visual Theater Jerusalem (2006) and holds a B.A. in History and Philosophy from Tel Aviv University (2010). Won the Akko festival prize for alternative theatre in 2003, scholarships from the America-Israel Cultural Foundation in (20032007), the Mayor of Jerusalem and the HaZira Performance Art Center prize in 2006, the 'Legacy' Foundation scholarship in 2007, and participated in Goethe Institute and International Theater Institute (ITI) residency programme for young theatre directors (2011). AWP is his first major show in Germany. His next piece, currently being researched, explores performance in a post-identity and post-human environment. Romm Lewkowicz (b.1985, Bonn) is a London based cultural anthropologist and migrant rights activist. Lewkowicz holds a B.A in European History from Tel Aviv University, and an M.Sc. in Cultural Anthropology from University College London. Between 2005-2009 Lewkowicz curated Tel Aviv's Migrant's Day Film Festival, has written for Haaretz newspaper and Ha-ir magazine and was among the founders of the queer collective "Cinema Paradildo". Lewkowicz has held various research and advocacy positions in migrant rights NGO's, including The Hotline for Migrant Workers and the African Refugee Development Center (Tel Aviv), Detention Action (London) and Asylos Research for Asylum (Brussles). His research looks at the discursive, material, and affective aspects of illegality in the life of East African asylum seekers in Israel in different points of alienstate encounters. In 2013, Lewkowicz was awarded a five-year Graduate Center Fellowship at the City University of New York (CUNY), and will begin his PhD at its Anthropology department this fall. Maya Dunietz (b.1982, Tel Aviv) is a pianist, composer, singer, choir conductor, and sound installation artist. Her work ranges between solo performances, composing for various ensembles around the world, writing for theatre, creating sound installations, building electronic instruments, and singing in various styles such as heavy metal, kleizmer and contemporary music. Throughout her work, Dunietz is in a constant search for new ways and methods to create her music and art. In her work she combines new cutting-edge technologies with old and traditional techniques for playing, singing, building things, and recording. Dunietz first collaborated with Ashbel on the highly acclaimed Garinim. Since then, they have been working together creating performances that stretch the borders between theatre, music, installation, and party. Among their collaborations are Gymanstics (2004), 1982 (2005), On the Relation of Kung-fu and Ice Cream (2006), Jawz (2006) Guerrilla (2007), Chikos, (2009) Catastrophe clock (2007+2011), and many more.

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