Based on the novel ‘DER COUP DER BERDACHE’ by Michael Roes
Scenario / Installation / Staging > Penelope Wehrli; Player > Rickie Eden, Kurin Hecht und Falilou Seck; Film-Players > Antonia Baehr, Frank Büttner, Holger Friedrich, Jo Kappl, Josef Ostendorf, Katka Schroth, Michaela Steiger, Takako Suzuki, Andrzej Wirth; u.a.; Sound-Live-Feed > Sam Auinger; Costumes > Ellen Hofmann; Camera > Gusztáv Hámos; Film-Sound > Peter Göhler; Artistic Assistant > Hannah Groninger; Technical Director > Peter Buchheit; Production Managment > Eva Hartmann; Dramaturgic Advisor > Detlev Schneider
Three films can be seen distributed throughout the space on five different tracks. The projection screens are transparent. One can see through several images at once. The images move. Each film is shot as the point of view of one of the three main characters. The three performers perform live in the installation, each in interaction with "their" film.
Three sound-scapes divide the space acoustically. The three narrative strands can be heard via conference sound system on three chanels.
It is obvious that one cannot follow all three perspectives. This opens the space: if not everything can be seen at once which is never the less there, then one experiences one’s own sense of the whole: that which no one can foresee in one’s own time.
The live sound feed condenses the Berlin cityscape within the Palace of the Republic. It’s skeletal structure functions as an interface between the fictitious city of New Leyden and the real city outside.
The spectators are free to move around within this temporal sculpture and they create their own unique film within their head as they do so.
Cities are like dreams, everything imaginable can be dreamed, though even the most unexpected dream is a visual puzzle, which conceals desire, or on its downside fear.
- Italo Calvino, „Invisible Cities"