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PROGRAMME DETAIL

Young Directors Project
SIGNA • Das ehemalige Haus

Denmark/Sweden/Austria

In German and English

Recommended for ages 16 and up
Duration of performance approx. 2 hours 50 minutes.

PREMIERE

  • 16 August 2011, 15:00

DATE

  • 16 August 2011, 18:00
  • 16 August 2011, 21:00
  • 17 August 2011, 15:00
  • 17 August 2011, 18:00
  • 17 August 2011, 21:00
  • 18 August 2011, 15:00
  • 18 August 2011, 18:00
  • 18 August 2011, 21:00
  • 19 August 2011, 15:00
  • 19 August 2011, 18:00
  • 19 August 2011, 21:00
  • 20 August 2011, 15:00
  • 20 August 2011, 18:00
  • 20 August 2011, 21:00
  • 23 August 2011, 15:00
  • 23 August 2011, 18:00
  • 23 August 2011, 21:00
  • 24 August 2011, 15:00
  • 24 August 2011, 18:00
  • 24 August 2011, 21:00
  • 25 August 2011, 15:00
  • 25 August 2011, 18:00
  • 25 August 2011, 21:00

Print programme (PDF)

CREATIVE TEAM

Signa and Arthur Köstler, Thomas Bo Nilsson, Concept and Stage Direction

CAST

With Michael Behrendt, Anna Gunndís Guðmundsdóttir, Oddur Júlíusson, Dominik Klingberg, Arthur Köstler, Signa Köstler, Siri Nase, Thomas Bo Nilsson, Steven Reinert, Andreas Schneiders, Helga Sieler, Jenny Steenken, Klaus Unterrieder, Eva Vium, Irma Wagner, Mareike Wenzel and Marie Zwinzscher.

ABOUT THE PRODUCTION

In an old house in Maxglan, the tragic end of a lugubrious family story is made visible. Led by the Erinyes, the goddesses of vengeance in Greek mythology, the visitors follow the footsteps of the dead and realize how a series of persons and events contributed to a catastrophe. Damned within an eternal story, the victims confront their corruptor and commit their crimes countless times, as if they were the echo of a long-ago deed.
The work of the Copenhagen-based performance collective SIGNA cannot be categorized, as it combines a varied spectrum of art forms. The basic concept of its productions, however, is based on installations. SIGNA works venue-specifically and adapts to the space in question, redefining abandoned, empty buildings and areas and transforming them into theatrical spaces outside of any time-frame, into an artificial world which the audience inhabits and explores.




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