elle a élevé la voix au-dessus de la mêlée — und dann? (SHE RAISED HER VOICE ABOVE THE MELEE—AND THEN?)
Jessica Jurassica welcomes the audience. The HORA actor and co-author asks:
“Why do you only talk—why don’t we make theatre?” and then we make theatre (2020)
In this piece, the act of watching itself becomes the performance. Matthias Brücker, actor of the HORA Ensemble and co-author of the work, initially does not appear physically on stage, but as a projected presence: he follows the live performance on the South Stage via a large-format Zoom screen. This medial arrangement shifts the question of presence and authorship.
Emerging from the rehearsal process, Brücker formulates the question: “Ketty, why do YOU only talk, why don’t WE make theatre?” By repeating this line in the performance, he leaves the position of pure observer and claims co-determination. He enacts his own concept of theatre performatively and stages two scenes that do not respond to the previous process, but rather challenge and question it.
Emerging from the rehearsal process, Brücker formulates the question: “Ketty, why do YOU only talk, why don’t WE make theatre?” By repeating this line in the performance, he leaves the position of pure observer and claims co-determination. He enacts his own concept of theatre performatively and stages two scenes that do not respond to the previous process, but rather challenge and question it.
Crédits
Concept and Artistic Direction:Ketty Ghnassia
By and with:
Staff of Gessnerallee:
Michelle Akanji, Nailje Bedjeti, André Donzé
Staff of the Independent Scene:
Matthias Brücker (protected independent scene), Seraina Dür, Ketty Ghnassia, Jonas Gillmann, Jessica Jurassica, 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
Set Design:
Ketty Ghnassia, Jessica Jurassica, Anne Linke, Alessandro Schiattarella, Sandra Utzinger
Performances:
Matthias Brücker, Seraina Dür, Jessica Jurassica, Sandra Utzinger
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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