Frida Kahlo - the most famous Mexican painter, one of the most exotic women of her time, Master of self-presentation. She decorated the truth, they invented new, cut them, split them up and challenged them - they dated their date of birth to the Mexican Revolution and painted her reality as she experienced it. "Her art," said Andre Breton "is like a colored ribbon around a bomb."
hope I will, I will joyfully experience the outlet, and hopefully I'll never zurück.Nur a worries me: Please do not supine, please do not bury me in the back position! Far too often I have suffered in this unfortunate situation.
So burns me please! FRIDA
"I am in my life been affected by two major accidents. One happened when I was run over by a tram, the other is Diego, "said Frida Kahlo and the accidents of her life from childhood through the permanent ubiquity of physical decay and loss. For months, she was bound by the consequences of the accident again and again to the bed, but she found death with sarcasm and biting sarcasm. Frida was a paradox, which proves in the best of what it means to deal with attitude and will power consciously rebel against a destiny.
The audience sits at a height of 1.20 m, looking into a white room and watching two players who are the eyes of the audience on four sides . Deliver In a doubling of the figure reflect the Kahlo, remember and play a biography between self-loathing and lust for life.
"For Paris, New York or London, death is a word that you avoid because it burns the lips. The Mexican looks, caresses, teases, celebrates it, sleeps with him, he is his favorite toys and his most faithful lover "(Octavio Paz)
" Viva. la vida Friducha "questioned our relationship with life and death. With elements of the puppet / object theater, projections and physical theater created two players through the life of Frida Kahlo performative Requiem.
" Viva. la vida Friducha "questioned our relationship with life and death. With elements of the puppet / object theater, projections and physical theater created two players through the life of Frida Kahlo performative Requiem.
staging / texts: Katja Fillmann
Drama: Isabelle Stolzenburg / Julia Giesbert
Facilities: Cordula Körber
Video & Music: Steffen Dost
Drama: Isabelle Stolzenburg / Julia Giesbert
Facilities: Cordula Körber
Video & Music: Steffen Dost
dramaturgy Christian Weiss
A production of the LOT-Theater
Funded by: Lower Saxony, Lower Saxony Lottostiftung
Funded by: Lower Saxony, Lower Saxony Lottostiftung
Premiere: 29.01.2009 LOT-Theater Braunschweig
Further performances:
30.01. / 31.01. / 01.02. / 07.05. / 08.05. / 09.05. / 10/5/2009 a 20 clock
LOT-Theater / Kaffeetwete 4 / 38100 Braunschweig
Tickets: 0531st 17 353 / http://www.lot-theater.de/
30.01. / 31.01. / 01.02. / 07.05. / 08.05. / 09.05. / 10/5/2009 a 20 clock
LOT-Theater / Kaffeetwete 4 / 38100 Braunschweig
Tickets: 0531st 17 353 / http://www.lot-theater.de/
Among the artists:
Katja Fillmann (staging, text) * 1972, independent director and lives in Berlin. Dipl. Applied Cultural Studies at the University of Hildesheim. Scholarship to study acting (by Lecoq) at the Hogeschool voor de Kunsten, Utrecht, Holland; teaching at the Department of Theatre and Media Studies at the University of Hildesheim, an actress in theater aspic, assistant director at the Theater Basel, led by Stefan
Bachmann; scholarship at the International Forum of the Berlin Theatre Meeting `06 and invited to the Young Directors' Laboratory 06 of the Lincoln Center, New York.
including productions at the Theater Basel, Theater am Neumarkt Zurich, Theater an der Parkaue Berlin, Theater in Essen, DT-Göttingen, Theatre Giessen. Free productions with Herwig Ursin and Ariane
Andereggen in Basel, with the formation Vroom at
Gessnerallee Zurich, Laboutique Berlin, Rogerio Nuno Costa, dance factory Berlin / Gallery ZDB, Lisbon.
Cordula Körber (equipment) in 1978, lives in Cologne,
Katja Fillmann (staging, text) * 1972, independent director and lives in Berlin. Dipl. Applied Cultural Studies at the University of Hildesheim. Scholarship to study acting (by Lecoq) at the Hogeschool voor de Kunsten, Utrecht, Holland; teaching at the Department of Theatre and Media Studies at the University of Hildesheim, an actress in theater aspic, assistant director at the Theater Basel, led by Stefan
Bachmann; scholarship at the International Forum of the Berlin Theatre Meeting `06 and invited to the Young Directors' Laboratory 06 of the Lincoln Center, New York.
including productions at the Theater Basel, Theater am Neumarkt Zurich, Theater an der Parkaue Berlin, Theater in Essen, DT-Göttingen, Theatre Giessen. Free productions with Herwig Ursin and Ariane
Andereggen in Basel, with the formation Vroom at
Gessnerallee Zurich, Laboutique Berlin, Rogerio Nuno Costa, dance factory Berlin / Gallery ZDB, Lisbon.
Cordula Körber (equipment) in 1978, lives in Cologne,
stage and costume studies at the College of Fine Arts in Dresden, Accademia di Brera in Milan and at the University of Film and Television in Potsdam. Then prop assistant at the Theatre including dinner at Raymond Bauer and Thomas Thirty acres. Facilities at the spectacle
food, Semper Opera Dresden, the Folkwang Hochschule in Essen, in collaboration with the Festival Melez including Miriam Strunk, Henner Kallmeyer, Annette and Matt Pullen Kaschig. Together with Katja Fillmann she worked at the City Theatre Casting lives for "Miss Julie.
Steffen Dost (Video & Music) * 1973 in Berlin. Work in the
areas
Drama / Music / radio drama / Film, Video / Graphics Since '92 as a freelance artist and illustrator. active. Since '94 theater musicians and performers in the off-theater. worked since 2000 and others as a filmmaker and video artist. Co-founder of independent theater groups boxing team, Berlin, and the standard Head Company, Hildesheim. Productions including Theatre aspic, Hildesheim and local theater / Tel Aviv; rather Gorilla / Rotterdam, Matthias von Hartz on luzernertheater and the Sophiensaelen, Berlin, Theater der Welt Dusseldorf; acting Hannover, working with Katja Fillmann at the Theater Basel and various productions at the City Theatre Hildesheim, play food, Deutsches Theater, Göttingen, as well as short films for the project "hamlet_X" / Herbert Fritsch.
Christian White (drama) * 1978, lives in Brunswick. Studied literature, linguistics and history at the Universities of Freiburg and Brunswick. He worked as a director and production assistant at the Theater Freiburg and others at the festival theater (Rimini Protokoll). In 2000 he founded the theater is more visible, and since then artistic director of the group. Since 2002 he works more visible as a freelance director in the theater, the theater
Freiburg, and above all with their own production. Scholarship at the International Forum of the Berlin Theatre Meeting `06; lecturer at the HBK-Braunschweig. From August 2007 to January 2009: dramaturge at LOT-Theater Braunschweig, responsible for program and artistic concepts.
Giesbert Julia (actor) * 1978, studied Communication Sciences in Berlin and Barcelona, studied puppetry in Berlin at the Academy of Dramatic Arts "Ernst Busch". She is a freelance puppeteer and actress and lives in Berlin. She has worked with Jarg Pataki at the Theater Freiburg and, most recently with Michael Bird (Family seam) in the masque 'The Broken Jug ".
Isabelle Stolzenburg (actor) * 1980, studied applied cultural sciences and aesthetic practice at the University of Hildesheim, studied drama and physical theater (by Lecoq) at the Hogeschool voor de Kunsten, Utrecht, the Netherlands and the Ecole International de Theatre (Lassaad) "in Brussels. She works as a freelance actress and drama teacher, including "working group 2" in Göttingen.
food, Semper Opera Dresden, the Folkwang Hochschule in Essen, in collaboration with the Festival Melez including Miriam Strunk, Henner Kallmeyer, Annette and Matt Pullen Kaschig. Together with Katja Fillmann she worked at the City Theatre Casting lives for "Miss Julie.
Steffen Dost (Video & Music) * 1973 in Berlin. Work in the
areas Drama / Music / radio drama / Film, Video / Graphics Since '92 as a freelance artist and illustrator. active. Since '94 theater musicians and performers in the off-theater. worked since 2000 and others as a filmmaker and video artist. Co-founder of independent theater groups boxing team, Berlin, and the standard Head Company, Hildesheim. Productions including Theatre aspic, Hildesheim and local theater / Tel Aviv; rather Gorilla / Rotterdam, Matthias von Hartz on luzernertheater and the Sophiensaelen, Berlin, Theater der Welt Dusseldorf; acting Hannover, working with Katja Fillmann at the Theater Basel and various productions at the City Theatre Hildesheim, play food, Deutsches Theater, Göttingen, as well as short films for the project "hamlet_X" / Herbert Fritsch.
Christian White (drama) * 1978, lives in Brunswick. Studied literature, linguistics and history at the Universities of Freiburg and Brunswick. He worked as a director and production assistant at the Theater Freiburg and others at the festival theater (Rimini Protokoll). In 2000 he founded the theater is more visible, and since then artistic director of the group. Since 2002 he works more visible as a freelance director in the theater, the theater
Freiburg, and above all with their own production. Scholarship at the International Forum of the Berlin Theatre Meeting `06; lecturer at the HBK-Braunschweig. From August 2007 to January 2009: dramaturge at LOT-Theater Braunschweig, responsible for program and artistic concepts. Giesbert Julia (actor) * 1978, studied Communication Sciences in Berlin and Barcelona, studied puppetry in Berlin at the Academy of Dramatic Arts "Ernst Busch". She is a freelance puppeteer and actress and lives in Berlin. She has worked with Jarg Pataki at the Theater Freiburg and, most recently with Michael Bird (Family seam) in the masque 'The Broken Jug ".
Isabelle Stolzenburg (actor) * 1980, studied applied cultural sciences and aesthetic practice at the University of Hildesheim, studied drama and physical theater (by Lecoq) at the Hogeschool voor de Kunsten, Utrecht, the Netherlands and the Ecole International de Theatre (Lassaad) "in Brussels. She works as a freelance actress and drama teacher, including "working group 2" in Göttingen.
La Requiem-one meeting:
A: How does it feel to die of ?
B: Do we know when we die?
C: Even after death, can it look as if the body is trying to do some last minute announcements. Acids in the blood cause a contraction of the pharyngeal muscles, and there are gurgling sounds. When contraction the laryngeal muscles, it may even happen that the dead man screams loudly.
A: How do you know that you're dead?
D: Is there a convenient time for death? .. So, it is better a child dies or
old man? ... Or now days due, it is dying is better in the morning or evening, at night so unlikely?
A: How would I live my life if I knew when I die?
B: Would you's live differently?
A: I do not know, that was the question. Would you
do know the date?
B: No, that would be totally stressful
C: Did the death of a color? Is death and hell
A: How would I live my life if I knew when I die?
B: Would you's live differently?
A: I do not know, that was the question. Would you
do know the date?
B: No, that would be totally stressful
C: Did the death of a color? Is death and hell
warm? 
B: Is death exhausting?
D: When does death?
B: The body can not shed many hours after the death of tears. From the eyeball fluid occurs. In case of doubt one should turn the head of the dead. The eyes must remain motionless stand in their sockets. A reaction which is commonly known as doll's eyes phenomenon.
to A. In the second Death weeks swollen abdomen, scrotum, breasts, eyes and tongue, so that the corpse back and forth
C: Can I choose again if the death has already begun?
How does it feel good to be in the casket or to be burned?
D: What would you like to bring to his death?
B:-I was once as a child in an excavation of a Roman settlement. Then I asked myself: if people dig in 1000 years, our house, how will they know that I lived there? I have a thick felt pen and made written under the stone windowsill: Katie has since her room.
A: A doctor sat in Düsseldorf Bedpost dying patients highly sensitive scales. At the moment of death he was able to determine in all cases a weight loss of 21 grams.
C: I meet all again? How old am I and my grandma?
B: I do when I'm dead, seen on the earth?
I see what the survivors so?
it fly then?
A: Does the time still a role?
C: I think death is something warm and pleasant, perhaps dark, but a pleasant night, the moment of dying is rising.
D: I wonder if it's true, maybe there is nothing-nothing but what is now a look
organization to find out because then the whole his people? I find difficult
A: I like the idea that there is a grave where there are all these guys, then rogues, the bad and the good guys, that's funny. Perhaps then, everyone has their own death kingdom, as he conceives it.
B: I think that I simply falls apart, and that is something I can not imagine, but I hope my energy, or something that is good for something else, maybe a worm or memories.
C: How do you live in death?
D: Is the death of the contrast between life
If life is fleeting, is death ever?
B: children, this seems to me as a real opportunity to pass me.
is the transient but the motivation to create something as a counter-movement.
A: Bring it bad luck to talk about death, calls to bring about death?
B: Can not be killed in his life?
I've ever killed an ant, even a spider ... is such a thing be avoided?
D: Is death really difficult for others than for oneself? Or is it more difficult for me because my death is difficult for others?
B: I have a responsibility for my death, or just happened to me?
A: What to do with the suffering of death
C: Is death a punishment or reward
A: What to do with me when I'm dead
D: If the death is salvation, then why does no one die?
A: So I want to rot in the ground. So I can be food for others, that would somehow make sense.
C: So I want to be burned, that's nice and warm
A: I would be too hot
B: I's would love if it were a bird bath on my grave because I'm a happy man.
A: If I must die, then I would simply disappear, like the Indians. Climb a mountain and waits for one to take the gods themselves.
C: My grandmother was dying in front of a glass of champagne to drink and then she died.
D: At Christmas, many people surely die, because they alone are
A: I would like to have something warm to when I was in the coffin.
D: So simple coffin, nice wood, no white paint or gold handles, very classic. Attracted? Something nice, but not now simply a dress with spaghetti straps,
Much like flowers, not too many people. Where? Maybe back to the village where I come from, but that's hard to know who has more right to my death, what about friends? And after a hard, do not dance, maybe, but music.
a man burn that has something damning, I like the idea: earth to earth.
B: So I want the first time left to the other, except I want to be burned. But what they really care about my dress, so white shirt and black pants.
A: I would rather something colorful.
B: Who is to come, I leave that other, I'd be happy already and I think that is good if you dance then I would also like to do then.
A Could you imagine you also donate to science?
B
donate Not now as a crash test dummy, but organs that would somehow make sense. So for more than a crash test.
As long as the vigil is kept, but oh so that's not in organ donation, that must then ratzfatz.
D: I'll hang on my life
A is dying, I think very lonely,
C: I think when you die then there is always the moment of exhaustion. You're tired. But make the decision to let go, it must be very tiring, I think then it's ok. Anyway, I imagine it to be so.
B But if you can let go, but your body is not easy and you will only're still pain.
D: How does the disease look at life
A: Great facility, great Feelings? This is probably chosen to live in the face of death.
... If I leave somewhere, I sometimes wonder that was the last moment with the other, what was the final gesture, etc. What would now be left?
B: Is death exhausting?
D: When does death?
B: The body can not shed many hours after the death of tears. From the eyeball fluid occurs. In case of doubt one should turn the head of the dead. The eyes must remain motionless stand in their sockets. A reaction which is commonly known as doll's eyes phenomenon.
to A. In the second Death weeks swollen abdomen, scrotum, breasts, eyes and tongue, so that the corpse back and forth
C: Can I choose again if the death has already begun?
How does it feel good to be in the casket or to be burned?
D: What would you like to bring to his death?
B:-I was once as a child in an excavation of a Roman settlement. Then I asked myself: if people dig in 1000 years, our house, how will they know that I lived there? I have a thick felt pen and made written under the stone windowsill: Katie has since her room.
A: A doctor sat in Düsseldorf Bedpost dying patients highly sensitive scales. At the moment of death he was able to determine in all cases a weight loss of 21 grams.
C: I meet all again? How old am I and my grandma?
B: I do when I'm dead, seen on the earth?
I see what the survivors so?
it fly then?
A: Does the time still a role?
C: I think death is something warm and pleasant, perhaps dark, but a pleasant night, the moment of dying is rising.
D: I wonder if it's true, maybe there is nothing-nothing but what is now a look
organization to find out because then the whole his people? I find difficult
A: I like the idea that there is a grave where there are all these guys, then rogues, the bad and the good guys, that's funny. Perhaps then, everyone has their own death kingdom, as he conceives it.
B: I think that I simply falls apart, and that is something I can not imagine, but I hope my energy, or something that is good for something else, maybe a worm or memories.
C: How do you live in death?
D: Is the death of the contrast between life
If life is fleeting, is death ever?
B: children, this seems to me as a real opportunity to pass me.
is the transient but the motivation to create something as a counter-movement.
A: Bring it bad luck to talk about death, calls to bring about death?
B: Can not be killed in his life?
I've ever killed an ant, even a spider ... is such a thing be avoided?
D: Is death really difficult for others than for oneself? Or is it more difficult for me because my death is difficult for others?
B: I have a responsibility for my death, or just happened to me?
A: What to do with the suffering of death
C: Is death a punishment or reward
A: What to do with me when I'm dead
D: If the death is salvation, then why does no one die?
A: So I want to rot in the ground. So I can be food for others, that would somehow make sense.
C: So I want to be burned, that's nice and warm
A: I would be too hot
B: I's would love if it were a bird bath on my grave because I'm a happy man.
A: If I must die, then I would simply disappear, like the Indians. Climb a mountain and waits for one to take the gods themselves.
C: My grandmother was dying in front of a glass of champagne to drink and then she died.
D: At Christmas, many people surely die, because they alone are
A: I would like to have something warm to when I was in the coffin.
D: So simple coffin, nice wood, no white paint or gold handles, very classic. Attracted? Something nice, but not now simply a dress with spaghetti straps,
Much like flowers, not too many people. Where? Maybe back to the village where I come from, but that's hard to know who has more right to my death, what about friends? And after a hard, do not dance, maybe, but music.
a man burn that has something damning, I like the idea: earth to earth.
B: So I want the first time left to the other, except I want to be burned. But what they really care about my dress, so white shirt and black pants.
A: I would rather something colorful.
B: Who is to come, I leave that other, I'd be happy already and I think that is good if you dance then I would also like to do then.
A Could you imagine you also donate to science?
B
donate Not now as a crash test dummy, but organs that would somehow make sense. So for more than a crash test.
As long as the vigil is kept, but oh so that's not in organ donation, that must then ratzfatz.
D: I'll hang on my life
A is dying, I think very lonely,
C: I think when you die then there is always the moment of exhaustion. You're tired. But make the decision to let go, it must be very tiring, I think then it's ok. Anyway, I imagine it to be so.
B But if you can let go, but your body is not easy and you will only're still pain.
D: How does the disease look at life
A: Great facility, great Feelings? This is probably chosen to live in the face of death.
... If I leave somewhere, I sometimes wonder that was the last moment with the other, what was the final gesture, etc. What would now be left?
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