Außer Kontrolle

It may be worthwhile not to read this text before the play..

On May 10, 2024, Fleur Pusteblume, director at a theater, hears the story of Freddy, a dock worker in Germany in 1924, on the morning radio. But while Fleur is getting dressed, made up and ready that morning — as she does every day — Freddy and his two colleagues kill their boss "Die Fette Sau" together. The story inspires Fleur to stage a new play: The story of a group of dock workers who murder their boss. However, neither Fleur nor Münze focus on the history of the workers' movement, but on the new theater scandal: the death of the boss should not just be shown on stage, but should be experienced by letting not only the role die, but the actress herself. Murder on stage. Shit? The shit! But which actor would put up with something like that?

The play "Außer Kontrolle (English: "Out of Control") tells the story these workers parallel to that of a theater which wants to let an actor die live on stage. It tells the story of suffering under the various constraints of a society that drives people to desire playing such a role. It tells the story of failed escalating attempts to escape. It tells the story of the murder of a boss. But who is the "boss"? A person? An institution? A system? It tells the story of the failure of morality and the hope for a life in which morality becomes reality. It tells the story of people who are lonely, who do not know how to help themselves other than by gaining power, who accept murder in order to have justice done, who cannot express their loneliness because some suffering simply cannot be articulated, unless a person talks to a goldfish.

The play was developed jointly by the group over the last year and moves between traditional and experimental theater. With a few exceptions, all the texts and most of the music were written by the group members themselves.

Light and Sound: Leon Martin Stage design: Anna Bronec, Martin Gonschorek Costume design, scetch: Daria Belkina Direction: Jan van Dick With a few exceptions, the lyrics and music were developed collectively.

With extracts from: Georg Büchner — Woyzeck, Leonce und Lena, Dantons Tod, Lenz Johann Wolfgang v. Goethe — Die Leiden des jungen Werthers Berthold Brecht — Die Ballade vom Wasserrad Rainer Werner Fassbinder — Anarchie in Bayern

Music: Philip Gerschlauer — Für Mary Wigman Teho Teardo, Blixa Bargeld — Still Smiling Chairlift — Bruises Philip Glass, Anton Batagov — Etude 5 Megan Thee Stalion — Her Andrew Rannels — I Believe The Doors, Kurt Weil, Berthold Brecht — Alabama Song (Whiskey Bar) The Police — Murder by Numbers