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I've always found theatre to be the ideal
space for examining reality with each other.

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Somehow I have this opinion that it is only when you really
open up or reveal something personal about yourself

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that it has a very big general character.

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So once you understand what you are doing there together then you can develop a play like this also in a couple of days.

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I feel not free when I don't know how to decide or when I am powerless and don't know how to act.

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And when the feelings that arise from this,
for example powerlessness or fear, take over

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and actually prevent me from acting.

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and actually prevent me from acting.

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When it feels as if you were going round in circles
with something or as if you are at

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the mercy of some situation and don't know how to shape it.

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I actually find it totally exciting to produce a presence

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with each other, in which we can be fearless together

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and sort of solve situations, in the best sense save the world
together or something, that would be the bigger idea of it anyway.

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Or where we really learn to deal with
difficulties constructively and to avoid violence.

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So I don't know, small things in
interpersonal relationships but also when

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there are migrations or climate change
or how do you deal with conflicts in general?

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And other than drawing boundaries and somehow immediately
responding to violence with violence again.

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I thought that it was possible to explore this in theatre.

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That's what I find totally exciting about theatre, that you encounter
so many different forms of togetherness and togetherness

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where you can often see how people react to situations
with each other in a totally reflexive way.

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But where it also happens again and again that people fall back on
totally violent means or self-evident ways of solving a situation.

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And I find that mega, mega, mega problematic
because you can actually see globally and

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also personally that the world is simply breaking
and everything is breaking as a result.

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I think it's really incredibly difficult to see how you can
develop systems that don't produce even more violence.

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And that at the smallest interpersonal level.

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I definitely have a large desire to get to the bottom of things and to understand them for myself and to get in touch with them.

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And I think that now, with these older texts, I am really
interested in what kind of thinking is behind them

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or what kind of attitude to life, what kind of conception
of society, and does it actually correspond to my own feelings?

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What has changed?

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So I find that a good basis for discussion
to find out something about myself but also

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the text is then understood through the other
perpective or the spirit of the times from which it comes.

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And I don't know exactly what my relationship
to it is but I'm constantly looking for it.

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I think one thing is that if you know what you're afraid of

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that you somehow have the courage to do exactly that,
then something will definitely move.

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So you address things or do certain things that you avoid.

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Somehow I have this opinion that it is only when you really
open up or reveal something personal about yourself

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that it has a very big general character.

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For me it's also somehow the case that I discover this again
in the texts, that the more I deal with them the more they open up.

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Maybe out of a political ethical interest or something I think
it's great that you put a lot of effort into something

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and not judge something as quickly.

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That I don't understand these texts at the beginning also has something to do with how I think or what my resistances are.

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And in any case it's a mega cool experience when
you realise that I can overcome that somehow.

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The more I deal with a piece the more I can understand
it for myself - what are the basic themes in it?

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And in the best case scenario you decide on a question
as a team anyway and with that you then go through the piece

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and filter and look and then use the piece like a quarry or a material
basis, with which you can then search for this topic.

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I've always found theatre to be the ideal
space for examining reality with each other.

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It works like a petri dish so to speak where you can actually exhibit
and examine your own behaviour or interpersonal communication.

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And at the same time theatre takes place in the present.

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And there are always a lot of completely
unexpectable factors that come into play

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and that’s why it’s a lot about the
actresses being able to deal with that

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and that they have the feeling that they can deal with that.

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These are not disturbing factors but they are actually
like material that can enrich and complement the narrative.

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What is really important for me is that
you pull out all the stop to really get people

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to want to participate and feel seen in it and that
everyone feels valued and represented as a person in it.

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And when that correlates that I let myself be touched
so to speak by what I do and really think and experience

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and live through it in a certain way or really let
my gestures that are in it become somehow real

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that’s actually what I want to see or what I then project into the actresses that this is what is happening right now.

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In this case it was a process that was
characterised by very different work phases.

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That one is so mega busy with finding the text.

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Then there were work phases where we improvised quite a lot and quite freely, without any great basis, where the main thing was

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that they find themselves as a group on stage and got to know
their mutual associative fantasies and tried to deal with them.

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Then there were work phases where we actually just sat in a circle
and talked and tried to develop and determine our basic rules.

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And at the same time there is always a great deal of discussion.

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On the one hand with the material, with the text,
and at the same time with the real-life interaction with each other.

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So how am I doing with you?

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How am I doing on my own?

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What feelings do we actually have?
What are our work roles?

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How do we deal with uncertainty?

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What is also the real effect that these
rehearsals have on the individuals?

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Sometimes there are phases in rehearsals that you are stuck
in some situations for weeks and you can’t really solve them.

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It was different with Räuberinnen.

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I had the feeling that everyone actually helps that you don't
go round in circles with some topic or proportionality or a problem

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but that you discuss things and approach each other and so on, that helps extremely to become such a totally good team in the end.

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This form of interacting with each other then also made it possible for the actresses to feel like pushing their own limits

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and that they can experiment with their own feelings,
fears and themes and encourage each other to do the same.

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Then the play really takes on such a transformative character
that one really liberates the character in real terms

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because the actresses take on an attitude
that they perform this on themselves anyway

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and this totally transmits onto everyone else.

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So once you understand what you are doing there together then you can develop a play like this also in a couple of days.

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In many productions I myself do some
sort of de-embarrassment performance.

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So I do something, which I think could be like the elephant in the room, this could be the topic here or a real border.

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And I try to cross that border while I let myself be watched.

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At “Räuberinnen” for example I undressed during the first rehearsal in front of all the technicians and then explained the rehearsal.

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And that's also what I think - there's nothing you
see on stage that I wouldn't at least be prepared to do.

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Of course I can't do many things like that
but I would definitely be prepared to do everything myself.

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I totally yearn for the state that in the end, as far
as that is possible, as it is also a complicated subject,

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to really decide for themselves what they
are doing or at least totally agree.

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Basically I'm interested in every form of psychological
and physical peace research so to speak

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and all forms of thinking and communication that seek healing,
real openness, and where it's not just the product

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or the artistic form that comes out in the end that actually shows that but where it's also really tried out and lived inwardly.

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So that is actually congruent with the conditions that are behind
it because otherwise it will never become a real proposal.

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So if you produce a very utopian product
under some blatant power structures

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then you never know whether this product could
really have a real impact on togetherness.

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At the beginning of my studies
I was a really shy person in some way.

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I have a lot of fears, but even so, it gives me drive sometimes,
that I think actually everything that I find is sometimes bad.

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So that's how it was for me with the theatre in many respects.

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I didn't find what I saw there to be great at all.

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I found many habits and rituals in the theatre
totally wrong based on this concern that

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one actually tries to become more open with each other, more
non-violent, to really question power structures and oneself.

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I have the feeling that many systems simply don't do that.

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I think it would be really nice if theatre
became more like a place where all these

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processes can be expressed somehow, that it is a place where
social change and reflection take place constantly.

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And somehow you find forms that make that visible.

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And that it can also be a much more blatant source
of inspiration for real political and social change.

