elle a élevé la voix au-dessus de la mêlée — und dann? (SHE RAISED HER VOICE ABOVE THE MELEE—AND THEN?)
The artistic director welcomes the audience. The performer and co-author steps out of her tent and addresses the theatre work (2020)
In today’s performance, the actress Sandra Utzinger stands beside her tent. She takes her time carefully packing it, brings her bicycle trailer onto the stage, loads the tent, and leaves the performance space. Shortly afterward, she returns without the tent. There, her monologue begins—as a response to the flyer text of the theatre work. She speaks about her emotionally demanding journey and the obstacles she encountered throughout the project.
Credits
Concept and Artistic Direction:Ketty Ghnassia
By and with:
Staff of Gessnerallee:
Nailje Bedjeti, André Donzé, Lisa Letnansky
Staff of the Independent Scene:
Matthias Brücker (protected independent scene), Seraina Dür, Ketty Ghnassia, Jonas Gillmann, Jessica Jurassica, Fatima Moumouni, Alessandro Schiattarella, City Pigeons 1 (Dür & Gillmann Collective), City Pigeons 2 (Dür & Gillmann Collective), City Pigeons 3 (Dür & Gillmann Collective), City Pigeons 4 (Dür & Gillmann Collective), City Pigeons 5 (Dür & Gillmann Collective), and Sandra Utzinger
Text:
Ketty Ghnassia, Sandra Utzinger
Set Design:
Ketty Ghnassia, Jessica Jurassica, Anne Linke, Alessandro Schiattarella, Sandra Utzinger
Video Installation:
Jessica Jurassica
Production Management:
Ketty Ghnassia
Supported by:
City of Zurich Culture, Elisabeth Weber Foundation
A production of cie la mêlée in co-production with Gessnerallee
On the process-based theatre work ELLE A élévé la voix au-dessus de la mêlée – und dann?
A lot is said about deconstruction in art.With this theatrical device, it was put into practice.
The process-based theatre work addresses the theme of inclusion and operates
1) without a traditional directorial role, instead working with co-authorship from all participants,
2) with performers who only occasionally practiced acting professionally, and
3) within a timeframe that condensed the usual production processes.
Inclusion is a human matter. As many people as the budget allows are invited to take a step back and explore what fictional collectives (Wirs) might emerge from this theatrical device—and through which negotiation processes, inclusively with the audience, this would unfold.
In total, six staff members from Gessnerallee (from the cleaning specialist to the theatre directors) and 13 artists from the independent scene participated.
The structure of the performances was always the same: one co-author opened and closed the performance, while all other present co-authors acted within the framework over the course of 60 minutes.
PS:
One week before rehearsals began, the theatre management informed Ketty Ghnassia that they would only be able to participate in the rehearsal and performance days to a limited extent—or not at all. The exclusive aspect of this theatre work was that people from the higher levels of the institution were willing to engage with the initiative of an artist, agreeing to share the stage and co-author the performances. For some participants, the absence of theatre management removed a relevant motivational factor.
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