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TZID:Europe/Berlin
TZURL:http://tzurl.org/zoneinfo-outlook/Europe/Berlin
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UID:6aea1577848cf
LOCATION:Gutenbergstraße 1, 19063 Schwerin
SUMMARY;ENCODING=QUOTED-PRINTABLE:Red Zone
DESCRIPTION;ENCODING=QUOTED-PRINTABLE:Adapted by Helene Hegemann and River Roux from | *The Assembly of=0D=0AWomen* by Aristophanes | World Premiere=0D=0A=0D=0A_“Everything will be common property in the future, and everything=0D=0Awill belong to everyone; one person will not own many acres of land,=0D=0Aand another will not have even a small plot for a grave.”=0D=0A_Praxagora in _*The Assembly of Women*_=0D=0A=0D=0AIn Aristophanes’ comedy, politics in ancient Athens is so marked by=0D=0Amismanagement, constant wars, and corruption that the women devise a=0D=0Aplan: disguised as men, they take over the Assembly, which makes=0D=0Adecisions on finances, laws, foreign policy, and war. Was Aristophanes=0D=0Aadvocating a radical way of thinking—did he even call for political=0D=0Aparticipation and equality? Or was the whole thing just a joke at the=0D=0Aexpense of women, whose—inevitably failing—attempt at=0D=0Aself-empowerment simply served to mock any utopia that even questioned=0D=0Athe multifaceted bondage of an elitist male-dominated regime?=0D=0A=0D=0A_*Red Zone*_ transports women weary of the concentration of power in=0D=0Athe ruling class into a gym that markets self-optimization through=0D=0Agrueling, sweat-inducing drills as a party, while beats timed to the=0D=0Asecond evoke war drums, and the tempo of successive tracks creates an=0D=0Aatmosphere that claims excessive progress. It shares with the=0D=0Aprotagonists of the original play the absence of a social vision for a=0D=0Abetter future. And whether power is better placed in the hands of=0D=0Awomen than in those of men remains an open question. It is more likely=0D=0Athat a battle of the sexes will not abolish the unequal distribution=0D=0Aof power and capital. United, however, that very goal could be=0D=0Aachieved.=0D=0A=0D=0AIn 2008, Helene Hegemann’s first film, *Torpedo*, was awarded the=0D=0AMax Ophüls Prize; in 2010, she made her debut as an author with the=0D=0Anovel _*Axolotl Roadkill*_, which has been translated into 20=0D=0Alanguages and which she adapted into a film herself. In 2017, the film=0D=0Areceived the World Cinema Dramatic Special Jury Award for=0D=0ACinematography at the Sundance Film Festival. This was followed by=0D=0Adirecting work for opera and theater, as well as numerous journalistic=0D=0Aand literary works, including the novels _*Jage zwei Tiger*,=0D=0A*Bungalow*_, and _*Striker*_, and two nominations for the German Book=0D=0APrize. She also presented _*Subotnik*_ at the Munich Film Festival in=0D=0A2022 and _*Deine Brüder*_ in the Panorama section at the Berlinale=0D=0A_in 2024_.=0D=0APerformer and author River Roux studied photography at the University=0D=0Aof Brighton in England, was part of the Berlin Strippers Collective=0D=0Afrom 2021 to 2023, and made her theater debut in _*Merry Stripmas* (It=0D=0AOnly Takes One)_ at Berlin’s Volksbühne am Rosa-Luxemburg-Platz and=0D=0Ain Lola Arias’ _*Happy Nights* at _Theater Bremen. Her work explores=0D=0Athe connections between exploitation, gender, care, and sexuality, as=0D=0Awell as queer militancy and self-defense.=0D=0AShe staged her very first solo piece, _*JUICE* ( _2024)—also at the=0D=0AVolksbühne am Rosa-Luxemburg-Platz—with the__director Bibiana=0D=0AMendes, who worked as an assistant director (Münchner Kammerspiele,=0D=0AMaxim Gorki Theater Berlin) with Ersan Mondtag, among others; worked=0D=0Aas a dramaturg (Maxim Gorki Theater Berlin, Theater Bremen) for Lola=0D=0AArias; and directed _*Der Russe ist einer der Birken liebt*_ by Olga=0D=0AGrjasnowa and _*Auerhaus*_ by Bov Bjerg at Theater Augsburg.=0D=0A
URL;VALUE=URI:https://hamburgwhl.infomaxnet.de/standard_widget_en/en/e-red-zone?eventDateId=30374085&widgetToken=22vcqFKw4GE.&
CLASS:PUBLIC
DTSTART:20261108T150000
DTSTAMP:20261103T181015
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