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Mi 09. – So 27.08.2017 1 INTERNATIONALES SOMMERFESTIVAL 09.-27.08.2017 KAMPNAGEL.DE MIT SICHERHEIT UNSICHER MI 09. – SO 27.08.2017 MI 09. – SO 27.08.2017 JETZT WÄHLEN: LIEBE GÄSTE, an dieser Stelle haben wir in den vergangenen Jahren ge- schrieben über: Grenzüberschreitung, Widerstand und En- tertainment in Zeiten von Krieg und Terror. 2017 ist an- + THEATER ders, weil das Noise-Level noch mal gestiegen ist. Und wir ein Festival sind, das sich weniger mit dem Drama der Vergangenheit und mehr mit dem Theater der Gegen- + TANZ wart auseinandersetzt. Das ist beleuchtet von digitalem Stroboskoplicht, die Augen tun weh und der Kopf brennt. Was tun? Wie reagieren auf eine Welt, in der politische + MUSIK Realität und mediale Fiktion verschwimmen? Wenn Politik zur großen Aufmerksamkeits-Show mit einfachen Slogans + FILM wird, und der Präsident der USA mit digitaler Hilfe direkt aus dem Trash TV-Format „The Apprentice“ ins Oval Office kommt, um die Demokratie mit Twitter-Feeds zu + PERFORMANCE penetrieren – was heißt das für die Kunst? Wir gehen da erstmal selbstbewusst ran und sagen: Das Spiel mit der Realität ist besser bei uns in der Kunst + BILDENDE KUNST als in der Politik aufgehoben. Und je lauter die Realität uns anbrüllt, desto bunter und vielfältiger werden wir, set- zen auf Differenzierung und variieren die Perspektiven, + THEORIE Formen, Ästhetiken, Lautstärken und Orte. Damit diese flirrende Stimmen-Vielfalt einen Song ergibt, der die Mas- sen zum Tanzen bringt, ist das Festival Programm dicht komponiert – und so sehen die Motive und Verbindungen der einzelnen Teile aus: Unser Spiel mit dem Jetzt beginnt im Superwahljahr mit einer Kampagne um unseren Spitzenkandidaten Juan Dominguez (siehe Cover), der als Künstler drei Wochen lang das Festival und den Garten mit klandestinen Perfor- terfeingeist Mariano Pensotti und befragt die Ideale der mance-Aktionen (S. 12 + 64) unsicher machen und bald russischen Revolution in einer beeindruckenden Gegen- das bekannteste Gesicht der Stadt sein wird. Welche rea- wartstheaterdiagnose (S. 26). Dass auch auf den Straßen len Gefahren hinter dem politischen Spiel mit der media- der Miniaturwunderland-Metropole Hamburg immer noch len Oberfläche stecken, untersuchen wir in einer Konferenz gekämpft wird (der G20 Gipfel lag beim Vorwortschreiben mit dem Journalisten Hannes Grassegger (S. 30). Was noch in der Zukunft), daran erinnert der britische Künst- tun als Individuum im digitalen Krieg? Tieftraurig losziehen ler und Konzept-Musiker (The KLF) Jimmy Cauty mit seiner und mit beißendem Witz Privatsphären verletzen, wie der unkaputtbaren Miniatur-Protest-Installation im Schanzen- gefeierte Brite Kim Noble (S. 48)? Oder wie Annie Dorsen viertel (S. 67). Zeitgleich protestiert die geheimagentur im Datenmengen live unterm Sternenhimmel eines Plane- tariums verarbeiten (S. 28)? Eine starke Theaterantwort auf das Gefangensein in der medialen Endlosschlaufe kommt auch von den britischen Performance-Vorreitern und Theaternobelpreis-Trägern Forced Entertainment, die TIME FOR NEW in ihrer virtuosen, Theatertreffen prämierten Schauspiel - Arbeit REAL MAGIC die Welt als Gameshow-Hölle zeigen PERSPECTIVES – Beckett fürs 21. Jahrhundert (S. 10). Dessen ENDSPIEL haben wir auch. In voller Länge und in Beckett -Englisch, inszeniert in einem beeindruckenden Überwachungs- Hafen fundiert-künstlerisch für eine andere Nutzung von Theaterturm von der kubanischen Künstlerin und Aktivistin Stadt und Hafen (S. 60). Wie künstlerischer Protest in Po- Tania Bruguera (S. 14). Ja! Wir können auch Theater- litik umschlagen kann, zeigt sich aus der außereuropäi- Klassiker (aber aus der Perspektive der Bildenden Kunst). schen Perspektive von Serge Aimé Coulibaly. Sein hypno- Und auch eine Vorlage wie Euripides‘ BACKCHEN tisches Tanzstück (S. 24) über den panafrikanischen kann zum popkulturellen Wahnsinn werden, wenn sie in Widerstandskämpfer und Afrobeat-Vorreiter Fela Kuti führt die Hände und Beine der Choreografin Marlene Monteiro von der afrikanischen Revolution direkt in die Gegenwart; Freitas gerät (S. 44). Die Gegenwart als überzeichnete kuratorischerweise spielt zusätzlich Fela Kutis Sohn Seun #JUAN2017 Groteske, was tun? Das fragt sich der argentinische Thea- mit der 14-köpfigen Band seines Vaters ein Konzert im 1 #JUAN2017 MI 09. – SO 27.08.2017 Club (S. 35). Revolution? Ging nicht vor kurzem ein arabi- scher Frühling von Tunis aus? Dieser Frage geht der tune- DEAR GUESTS, sische Choreograf Radhouane el Meddeb in einem gro- In past years, we used this space to write about overcoming ßen Tanz-Abend nach, der direkt vom Festival in Avignon zu limits and norms, and about resistance and entertainment uns kommt (S. 42). Auf außereuropäische Regionen im in the age of terror attacks and wars. 2017 is different be- Umbruch- oder Krisenzustand und deren lokale Tanz-Stile cause of its increased level of noise. And because we are konzentriert sich auch unsere Festival-Allstar-Choreo- a festival that deals with present-day theater more than grafin Eszter Salamon, die für zehn Tage mit Tänzer*innen foregone drama. Everything is illuminated by digital strobo- in einer Dauer-Performance das Museum für Kunst und scopes; our eyes hurt and our heads are throbbing. What Gewerbe bespielt (S. 58). is to be done? How to react to a world in which political Einen Fuß in der Bildenden Kunst hatte immer auch reality and media fiction are melding? When politics be- Michael Clark, Ballett-Neuerfinder und britische Stil-Ikone mit Glamour-Garantie: Der eröffnet das Festival mit einem Tanzgroßkunstwerk zur Musik von Erik Satie, Patti Smith und David Bowie (S. 6). Und wenn wir schon beim Pop sind: Mit dem Posaunisten Fred Wesley steht die Musik- LIBERTY, EQUALITY, geschichte persönlich auf der Bühne bei der Urauffüh- rung unseres neuen Anarcho-Puppenmusicals vom crazy COMMUNITY Canadian Josh „Socalled“ Dolgin (S. 8). Das gibt’s an den Wochenenden zusätzlich auch als Version für Kinder (S. 70), ebenso wie Philippe Quesnes hinreißendes Büh- comes a big entertainment show with simple slogans, and nentheaterkunststück mit Maulwürfen! – die schönste the president of the USA makes it – with digital help – Parabel über Kunst und Leben, die derzeit auf den euro- to the Oval Office directly from the trash TV format “The päischen Bühnen zu sehen ist (S. 22). Und jetzt, Sie Apprentice” to then penetrate democracy with twitter kennen das schon: Wo Sommerfestival draufsteht, ist feeds – what does this mean for art? Hochkultur, Pop und Musik drin. Jeden Abend holen We are self-confident in our approach and say: the re- wir Sie nach den Vorstellungen ab mit Club-Formaten und ality game is better off when played in our field instead Konzerten, vom deutschen Pop-Großmeister Andreas of in the political sphere. And the louder reality yells at us, Dorau (S. 16) über die Oberflächentaucher Beach House the more colorful and diverse we become. We place our (S. 17) bis hin zum Kanadier Mocky (S. 19, wait for it!), bets on differentiation and vary the perspectives, forms, denn nichts lädt das Jetzt so schön mit Bedeutung auf wie aesthetics, volumes and locations. To ensure that this Musik. Ach so, unsere Freunde Tindersticks (S. 32), shimmering diversity of voices can create a song that the Rufus Wainwright (S. 52) und die Orchesterkaraokaner masses can dance to, the festival program has been (S. 40) schicken wir diesmal ins Konzerthauswunder composed densely – and this is what the motifs and con- Elbphilharmonie, die muss ja auch bespielt werden. nections between the individual parts look like: Das war lange nicht alles, nur das Ende der Zeichen- Our game with the present day begins in the European zahl. Jetzt sind Sie dran, bitte rein ins Festival-Abenteuer, super election year with a campaign by our leading candi- schauen und hören Sie viel(fältig), um dann mit uns zu- date Juan Dominguez (see cover). This artist will destabilize sammen mit offenem Geist in die lauen Sommernächte the festival and garden with clandestine performances (oder -morgen) abzutauchen. for three weeks (p. 12 + 64) and will certainly soon be the Und wie immer gilt am Schluss all unser Dank den most well-known face in Hamburg. We will examine what Menschen und Organisationen, die uns oft bedingungslos true dangers lie in the political game with media interfaces vertrauen – und uns finanziell (und zusätzlich ideell) unter- in a conference with the journalist Hannes Grassegger stützen. Ohne sie gäbe es dieses drei Wochen-Sommer- (p. 30). What can you do as an individual in the digital war? festival-Refugium der Differenz im White Noise des Jetzt Go out with your desperate sadness and intrude on pri- nicht (S. 79). vate spheres with caustic humor like the celebrated British Kim Noble (p. 48)? Or like Annie Dorsen, work with mass- Bis gleich, es of data live under a planetarium’s stars (p. 28)? A strong András Siebold theater answer to being imprisoned in the infinite loop of & das Sommerfestival-Team media also comes from the British performance pioneers and theater Nobel Prize winners Forced Entertainment; they will show their sublime theater work REAL MAGIC, which was honored at Berlin’s Theatertreffen and sees the world as a game show hell – Beckett for the 21st cen- tury (p. 10). We also have his ENDGAME. In full length and in Beckett-English, staged in an impressive surveillance theater tower by the Cuban artist and activist Tania 2 #JUAN2017 3 #JUAN2017 MI 09. – SO 27.08.2017 MI 09. – SO 27.08.2017 INHALT Bruguera (p. 14). Yes! We can also do theater classics (but from the visual arts perspective). And we also have mate- WOCHE 1 KARTENINFOS rial such as Euripedes’ BACCHAE that can become a pop- ular culture craze if placed in the hands and legs of the 6-19 78 choreographer Marlene Monteiro Freitas (p. 44). The pres- ent is an exaggerated grotesque, what is to be done? This WOCHE 2 IMPRESSUM is what the Argentinian theater esthete Mariano Pensotti asked himself and thus revised the ideals of the Russian 20-40 79 revolution in an impressive contemporary theater proposal WOCHE 3 LAGEPLÄNE 41-57 80-81 SERVICE TO WOCHE 1+2 TIME TABLE 58-59 82 PERFORMING ARTS.
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