WEBVTT

1
00:00:02.200 --> 00:00:07.000
How limited your imagination actually is, my imagination is.

2
00:00:07.000 --> 00:00:10.266
Ideas for me are somehow also works.

3
00:00:11.133 --> 00:00:18.233
The way we deal with our environment is one hundred percent
the relationship that we actually have with ourselves.

4
00:00:18.233 --> 00:00:25.033
Just like white supremacy it's the same with patriarchy
and so... this will simply come to an end now.

5
00:00:25.033 --> 00:00:29.000
The old world is in a death rattle.

6
00:00:43.433 --> 00:00:50.733
In the past I have often read up on
theories or thesis about the present time

7
00:00:50.733 --> 00:01:00.866
and then spent time applying them to everything I see and experience around me and apply and check them against reality.

8
00:01:00.866 --> 00:01:04.666
And then I often somehow came up with something.

9
00:01:08.866 --> 00:01:15.033
Yes, so ideas are somehow also works for me and

10
00:01:15.033 --> 00:01:17.866
almost the ones that interest me the most.

11
00:01:19.800 --> 00:01:27.833
When I observe everyday scenes and somehow notice
what's wrong with them or something, it's relatively easy for me

12
00:01:27.833 --> 00:01:33.533
for me to imagine this scene in my imagination in a completely
different way or to just let ideas pass through me like this

13
00:01:33.533 --> 00:01:40.833
and, as short as it is, maybe let them be there longer in the moment
and let them have an effect on me or something like that.

14
00:01:40.833 --> 00:01:43.966
So because that's also what happens
in the rehearsal room somehow

15
00:01:43.966 --> 00:01:49.966
you notice somehow this doesn't work. Let's try it this way.

16
00:01:49.966 --> 00:01:56.466
It’s quite cringe-y at first but you look at it for
20 minutes, because who knows or something.

17
00:01:56.466 --> 00:02:00.600
And this is a process that often happens in my head, too.

18
00:02:00.600 --> 00:02:10.366
That I can somehow play through scenarios and thereby
also sometimes draw courage from them

19
00:02:10.366 --> 00:02:16.366
to really try things differently than before and see what happens.

20
00:02:19.700 --> 00:02:29.133
It has always helped me a lot to deal with it to understand
in what kind of history or something I am at the moment.

21
00:02:29.133 --> 00:02:35.233
Where I understand what came before me
in a certain area or in a certain topic.

22
00:02:35.233 --> 00:02:47.533
Also socially it's always a certain risk if you decide
not to take a closer look at which tradition you're in.

23
00:02:47.533 --> 00:02:54.933
And I believe that no matter what you do you always
place yourself in a tradition, whether you notice it or not.

24
00:03:00.500 --> 00:03:04.700
I have always found my themes through theoretical considerations.

25
00:03:05.566 --> 00:03:13.100
I think that is a very important tool for
me in my work or a strategy is reduction.

26
00:03:14.133 --> 00:03:21.666
Not to look for things that I can activelly create

27
00:03:21.666 --> 00:03:31.066
but rather the opposite, that is, to check what I can
actually take away without the essentials disappearing,

28
00:03:31.066 --> 00:03:37.700
in other words, the essentials of an
idea of a thesis or an experience

29
00:03:37.700 --> 00:03:45.400
that I would like to somehow make possible for
the audience or that I would like to activate or invite them to.

30
00:03:48.233 --> 00:03:55.133
So I try to say it so simply now that it seems too simple

31
00:03:55.133 --> 00:04:00.266
that everyone would say that's funny but it's far too simple.

32
00:04:00.266 --> 00:04:04.800
And then I try to think through whether something would happen

33
00:04:04.800 --> 00:04:08.433
if you then really implement it somehow in some way.

34
00:04:08.433 --> 00:04:16.766
Yes, you can say striking or even populist somehow

35
00:04:16.766 --> 00:04:25.866
to really put the idea stoically into the world and then
to work with what collaterally arises from it or so.

36
00:04:33.766 --> 00:04:42.400
For example concretely with “Mittelreich” until
this idea evolved there was a very long process,

37
00:04:42.400 --> 00:04:46.800
during which I have dealt on all possible
levels with the question of whiteness or so

38
00:04:46.966 --> 00:04:51.900
or the theoretical conception of whiteness.

39
00:04:54.500 --> 00:04:59.433
The core condition that whiteness is invisible

40
00:04:59.433 --> 00:05:09.766
it's about formulating whiteness as a category in the first
place, with which one can also take a perspective on the world.

41
00:05:11.166 --> 00:05:18.200
First of all detecting that it is practically not
present as a category in everyday life.

42
00:05:18.200 --> 00:05:28.300
When I started to try to understand things through this category, then somehow explosions in my brain kept happening

43
00:05:28.300 --> 00:05:35.900
because I suddenly perceived things that I had perhaps
also perceived as an emotional body before,

44
00:05:35.900 --> 00:05:40.200
but which I could then somehow suddenly classify linguistically.

45
00:05:44.166 --> 00:05:52.600
The invisible choreography that somehow directs
social life suddenly became so very clear to me.

46
00:05:52.600 --> 00:06:01.600
I was able to, like a fortune-teller, even before I entered a place
I actually knew how the choreography will work.

47
00:06:01.600 --> 00:06:08.366
And I found that fascinating. So if you could negotiate it on the basis of these categories or something, on the linguistic level,

48
00:06:08.366 --> 00:06:13.666
then brought back into the theatre, or brought back
into perception and back into the world of experience.

49
00:06:13.666 --> 00:06:20.866
This invisible whiteness, that I now suddenly see everywhere
- how can I make it visible? Make it tangible?

50
00:06:20.866 --> 00:06:25.366
And then bring it back into my familiar space
in the form of the theatre, the performance.

51
00:06:25.366 --> 00:06:38.500
Yes, and then the idea of simply marking the whiteness for the time being by taking it away so to speak on a banal visual level.

52
00:06:48.233 --> 00:06:57.866
One of the few things I can say about
how I work or what my method is

53
00:06:57.866 --> 00:07:01.900
that it has always been very different up until now,

54
00:07:01.900 --> 00:07:08.866
that I have always had to create the conditions
or the categories for each new project.

55
00:07:19.366 --> 00:07:25.100
Especially in theatre certain hierarchies
and power structures are a big problem.

56
00:07:26.266 --> 00:07:32.933
The problem is that there is always a hierarchy,
and if we don't talk about how

57
00:07:33.933 --> 00:07:44.333
exactly it should be structured, then an automatism begins, and this
automatism is always bad because it is always conventional.

58
00:07:44.333 --> 00:07:54.100
It is always extremely important for me to simply talk about it at the beginning of a project and to say what is my role, what is yours?

59
00:07:54.100 --> 00:07:59.200
What kind of tasks do I want to take on?
Which ones can I take on? And so on...

60
00:08:02.000 --> 00:08:05.600
Director's theatre is a kind of fighting term.

61
00:08:05.600 --> 00:08:07.666
I think director’s theatre is great.

62
00:08:07.666 --> 00:08:11.466
The director is an artist who somehow realises a work.

63
00:08:11.466 --> 00:08:21.900
The form of this work is then, instead of saying sculpture
or video, fashion or something like that, the form is performance.

64
00:08:21.900 --> 00:08:26.966
That is somehow the position from which
the basic approach is chosen from.

65
00:08:34.066 --> 00:08:41.900
For me the project is very much about the artistic power of assertion, which always plays an important role for me.

66
00:08:42.700 --> 00:08:51.200
After a long process of thinking about and researching
various biographies of black people in Germany

67
00:08:51.200 --> 00:08:57.933
that go back a long time in history we eventually
came up with the idea: yes, we really need a museum like this.

68
00:08:58.866 --> 00:09:10.866
We actually collected a lot of archive material and also a few artistic
works by black people in Germany between 1920 and 2005.

69
00:09:10.866 --> 00:09:24.666
And then we just claimed that it existed and somehow tried
to build it up in rudiments and somehow perform an institution.

70
00:09:26.633 --> 00:09:32.100
Now this institution suddenly exists and
it surprises us at regular intervals.

71
00:09:32.100 --> 00:09:37.366
It's a bit like a monster that we have created,
which now takes us to task again and again.

72
00:09:38.066 --> 00:09:43.933
That's the advantage of it again when several
people have the reins in their hands.

73
00:09:44.866 --> 00:09:55.300
Sometimes, for example, you say no to some
impulses or suggestions because you can't imagine

74
00:09:55.300 --> 00:09:59.966
what they might look like concretly or where they might lead.

75
00:09:59.966 --> 00:10:08.566
And when someone else is there so to speak
who pushes you and forces you to go there and see

76
00:10:08.566 --> 00:10:14.733
what it can look like concretly I think that happened
to me more than once in the course of this project,

77
00:10:14.733 --> 00:10:19.966
that I somehow wouldn't have taken some steps or something

78
00:10:19.966 --> 00:10:26.233
because I didn't manage to think them through before
taking them or something but then I had to go with it

79
00:10:26.233 --> 00:10:32.966
because it was a group decision, and then a few
weeks later I stood there and was like “Okay, sick”.

80
00:10:36.300 --> 00:10:44.900
How limited your imagination is and how limited my imagination
is and that somehow, yes, that you are afraid of things

81
00:10:44.900 --> 00:10:50.466
that you can't imagine or things that you can't
imagine that you simply don't include at all

82
00:10:50.466 --> 00:10:54.000
somehow into one's own approach.

83
00:10:54.000 --> 00:10:59.600
That's too bad because at some point
you inevitably just go round in circles.

84
00:11:03.000 --> 00:11:12.200
It's probably just the conditions in which we're all doing
our work right now. The old world is in a death rattle.

