Thomas Cornelius Desi (AT)
KOLLAPSOLOGIE II: FEUERS WENDE
A collaborative hybrid music theatre about our future (and past)
Vienna 1975: Attack on OPEC! The biggest ever coup against the global oil price cartel still brings our dependence on oil and its producers violently into focus today. In the 2nd part of the four-year KOLLAPSOLOGIE series on the collapse of global systems, Thomas Cornelius Desi focuses on this event and asks: "Can we only secure our future with violence anymore?" and "What will happen?"
As a "theatre of encounter" for an alternative society, the project creates a simulation form of possible reality of tomorrow. The entire audience playfully creates this terrorist act of assault, hostage-taking and flight to Africa as a theatrical re-enactment. It is also the setting for a conference about the future of us all.
The evening will be musicalised by a transcription of Frederic Chopin's Piano Concerto No.2, played by an automatic concert grand piano without a pianist, but with a singer.
A theatrical experiment about the collapse of global systems, focused on the energy turnaround and the end of fossil fuels. "Feuers Wende" refers to a text by Heraclitus, who incidentally also said: "War is the father of all things".
Simultaneously with the performance of "FEUERS WENDE" in physical presence, a separate purely media version can be followed online in the form of a kind of "news broadcast" of the 1970s: CLICK HERE FOR THE ONLINE STREAM.
Saturday, 23 September, 7 pm: LISTENING TALK on "KOLLAPSOLOGIE II: FEUERS WENDE" with Thomas Cornelius Desi and Herbert Gnauer in conversation with Annemarie Mitterbäck at the WUK.
A production of MUSIKTHEATERTAGE WIEN in cooperation with WUK performing arts.
Note:The active participation of the audience is an essential part of the performance.
Artistic direction, music, staging: Thomas Cornelius Desi | Technology: Peter Koger | Stage design: Maximilian Seper | With: Herbert Gnauer (anchorman), Günter Haumer (baritone), Roman Maria Müller (pantomime), and the entire audience | Historical expert advice: Dr Thomas Riegler | Self-playing piano: Bösendorfer | Production assistance: Natascha Sulz | Technical cooperation: Thomas Neulichedl