Die disparate Stadt (The Disparate City)

Boldly defiant or a convenient tourist attraction?

Premiere 05/03/2016

MalerSaal

Witht: Andreas Grötzinger, Rosemary Hardy, Carlo Ljubek, Anne Müller

Hallo-Festspiele: Katharin Ahrend, Cornelius Altmann, Alice Barkhausen, Thomas Becker, Suzana Cosic, Fiona Grassl, Dorothee Halbrock, Julia Jost, Lenika Long, Maike Löschmann, Vivien Malzfeldt, Maya de Oliveira, Wiebke Pranz, Kathia von Roth, Joshua Sassmansshausen, Laura Schuller, Christin Zarzinsky as well as Johanna Martens, Anastasia Muntaniol

St. Pauli Archiv: Elke Groenewold, Ronja Hesse, Eva Rodriguez Navia, Gunhild Ohl-Hinz, Kristina Patzelt, Susanne Sippel

St. Pauli Roller Derby: Lena Boeckmann, Daniela Chmelik, Anke Dregnat, Elke Heberle, Maria (Freddie) Tetzlaff

Dance: Marijana Doketa, Gymnastics: Catia Wauschkuhn, Music: Fanis Gioles, Martin Mutschler, Aileen Schneider

Directed by Schorsch Kamerun, Set Design: Katja Eichbaum, Costume Design: Gloria Brillowska, Lighting Design: Andreas Juchheim, Dramaturgy: Anja Redecker, Christian Tschirner


It is hard to believe that until a short time ago Hamburg was a rough and nonconformist city. Much of what now serves as a promotional tool for City Marketing used to be regarded as disparate and defecting. But now busloads of tourists are led down the “wild mile” while the alternative scene fights – sometimes successfully – to preserve their last symbolic sites. Over three evenings and in different ways, “Die disparate Stadt” will deal with historical occurrences of counter-cultural defiance in Hamburg. Reflecting on these, it asks: Are there still outlets for non-constructive forms of negation and for productive forms of fuck-up? When everyone is just noisily fighting for their space in the brightest spotlight, is there anything left that can really be believed in? The first evening centres on moments of Hamburg lore such as when the Swing Kids rebelled against the Nazis’ ban on public dancing for under-18s by playing their “negro music” from gramophones on church towers, and the “Pfennigbande” in Wilhelmsburg, a group of youths who served at the local flak tower, and whose name derives from their act of scratching the swastika from German pennies and pinning these to their lapels. The indispensable “creative individualists” we know today would at that time have probably been forced to cut their “unruly” hair or been deported to the concentration camp for “asocial” behaviour.

Pay what you want!

www.hallo-festspiele.de


Photos © Christian Bartsch

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