A series of readings and discussions to mark the 100th anniversary
PFAUEN
PFAUEN KAMMER
The Schauspielhaus Zürich has a colourful history. A key part of this history was shaped by the German artists who found refuge in Zurich in the 1930s and 1940s. And those courageous individuals, such as the then director Ferdinand Rieser and the dramaturg Kurt Hirschfeld, who brought them to the Schauspielhaus – mostly under the most difficult circumstances and against the resistance of significant sections of the city’s society. KUNST ALS EXIL is dedicated to their memory, their biographies and their works. But also to their descendants: the artists who live and work in exile in Switzerland today. To what extent does the experience of exile connect people across the ages? And how does it influence artistic creation?
Nr. 1: BRECHT DAMALS UND HEUTE
The kick-off to our series KUNST ALS EXIL is dedicated to Bertolt Brecht. Arguably the best-known German-language playwright and theatre theorist of his time, he was forced to flee into exile in 1933 and repeatedly explored this state of "hospitable shelter" (Gastbehaustheit) in his poetic and dramatic work. During those years, his path also led him to Switzerland several times, with which he—and it with him—had a lifelong ambivalent relationship.
Das Schauspielhaus Zürich opens its anniversary season with Brecht’s most famous play: DIE DREIGROSCHENOPER. Nine days after the premiere at the Pfauen, its director and Schauspielhaus co-artistic director Pınar Karabulut will discuss how alive Brecht's legacy still is today with the head of the Berlin Bertolt Brecht Archive, Noah Willumsen.
In the second part of the evening, we look back at Brecht's years in Swiss exile. This is the subject of the film "Wer keinen Pass hat ist ein Hund – Bertolt Brecht und die Schweiz" (Switzerland 2004, directed by Bruno Moll), which will be screened that evening. Following the screening, we will speak with the Swiss writer and Brecht researcher Werner Wüthrich, who advised on the film during its production.
Between the two parts of the evening, we warmly invite you to an apéritif and exchange in the foyer.
WITH: Pınar Karabulut, Noah Willumsen, Werner Wüthrich
MODERATION: Nina Rühmeier
Nr. 2: HEIMAT/HOME 2.0
How can home be rethought when belonging must be constantly negotiated? Inspired by the anniversary edition "heimat/home 2.0" of the magazine zwischentext, a polyphonic staged reading emerges that combines personal texts, collective writing, and performative elements.
A collaboration between the zwischentext-kollektiv, the Zurich Institute for Interreligious Dialogue, and the Schauspielhaus Zürich. «heimat/home 2.0» is part of the Swiss edition of "heimaten", the decentralized festival for plural democracy by the Haus der Kulturen der Welt (HKW, Berlin).
WITH: Aina Rea Aliotta, Yazan Alkhalaf, Arzije Asani, Gebreeyesus Kiros Asfaw, Ana Branković, Chun Chen, Lorena Cipriano, Mërgim Gutaj, artan islamaj, Fatima Moumouni, Emilio Nasser, Oana Popa, Ralph Tharayil, Sarina Tharayil, Tolga Yalın, and Îrfan Yildiz
ARTISTIC DIRECTION: artan islamaj & Oana Popa
DRAMATURGICAL SUPPORT: Hannan Salamat & Rebecca Ajnwojner
SOUND DESIGN: Zainab Lascandri
Nr. 3: DIE BRILLE DES NASSIM NACHTGEIST
A reading as part of ZÜRICH LIEST from the novel by Lotte Schwarz.
Zurich, 1934: At Pension Comi, the Russian and Jewish couple Paksmann provide shelter to numerous refugees. Among them is the German communist Lisette—the author Lotte Schwarz's alter ego.
MIT: Lorena Handschin and Henri Mertens
Nr. 4: DIE KINDER AUS NUMMER 67
A reading as part of ZÜRICH LIEST from the novel by Lisa Tetzner.
JUNGES SCHAUSPIELHAUS
Reading for ages 9 and up.
Berlin in the early 1930s: Despite poverty, unemployment, and the rising tide of National Socialism, the gang of children from apartment building No. 67 stick closely together. Ensemble member Lev Friedmann reads from the first volume of Lisa Tetzner's successful children's book series, written in Swiss exile.
MIT: Lev Friedmann