by Thomas Köck
A coproduction with Theater Rampe
Rubber lays the ground behind the history of globalization: colonialism boomed in the 19th century. The European opera house in Manaus testifies to this. And a small car entrepreneur in Germany, struggling with the crisis, is trying to live on. And the oceans sink in plastic. A climate symphony for a drowning dance ensemble, an exhausted symphony orchestra, two survivors in climatic capsules, and an average white Central European family.
At the moment of drowning, one last time the history passes by. Near and distant, almost forgotten memories of former paradises, initially colonialized, later swept by the global market and swept up, emerged.
The Indian woman in Brazil’s jungle, the rubber boom, the Central European car repair shop, the planned opera house for Manaus and other utopias, the small family and even personal memories of the father – they become visible again before they finally sink.
Dancers, actors, musicians and text trickle through an enormous flood to the complete exhaustion of all material and thus to the downfall of the global market itself.
Theater Rampe and backsteinhaus produktion have carefully picked up the flotsam of the flood and arranged them in a museum of capitalism. The exhibits date from 1890 to 2017 and are the memory of an epoch of overflow and destruction.
Premiere: 17. September 2016 // Theater Rampe, Stuttgart
Performer: Sarah Bauerett, Lilly Bendl, Ariel Cohen, Gonçalo Cruzinha, Niko Eleftheriadis, Britta Gemmer, Steffi Schadeweg, Isabelle v. Gatterburg, Raimund Widra, Andy Zondag
Musicians: Heiko Giering, Georg Bomhard, Thorge Pries
Artistic directors: Marie Bues & Nicki Liszta
Stage and costumes: Claudia Irro
Music director: Heiko Giering
Dramaturgy: Martina Grohmann
Assistant director: Tobias Tönjes
Executive director backsteinhaus produktion: Isabelle v. Gatterburg
Holder of the performing rights: Suhrkamp Verlag, Berlin
Duration of the piece: ca. 110 minutes
»›Paradies fluten‹ is a sort of scenic reading. In Theater Rampe, intensive moments can also be achieved when Köcks turn off critical end-time notes. Actually, Futur II would have to be the language of this piece, the first part of a climate trilogy. His prolog plays in the foyer of the ramp, designed on this occasion as the ›Museum of Capitalism‹. Tires dangle from a gallows, a car wreck waits for the downfall of the time it has produced. Almost cynically begins the evening, when it comes to the burning of the sun, which all human effort in lava will have transformed. Until then there is still time for good theater. So do not miss it.« Andrea Kachelrieß Stuttgarter Nachrichten, 19. September 2016
Coproduction of Theater Rampe and backsteinhaus produktion in the line of the three-year collaboration ›Rampe tanzt!‹. Funded through conceptions-subsidies of the Landesverband Freie Tanz- und Theaterschaffende Baden-Württemberg e.V. aus Mitteln des Ministeriums für Wissenschaft, Forschung und Kunst des Landes Baden-Württemberg and the City of Stuttgart.