Pfeffersäcke im Zuckerland & Strahlende Verfolger.

PFEFFERSÄCKE IM ZUCKERLAND - Eine Menschenausstellung
STRAHLENDE VERFOLGER. - von Elfriede Jelinek
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Premiere 20/09/2014


By the mid-19th century Hamburg’s port was the most important transshipment point for Brazilian imports. German exports, however, were restricted by the high import duties levied by the Brazilian government. In order to avoid costly return trips with empty vessels, Hamburg’s shipping companies founded their very own Colonial Association to establish a large scale emigration business – importing sugar from and exporting Germans to Brazil!

»Moneybags in Sugar Land« is a German-Brazilian theatre project that embarks on a search for the descendants of these migrants. Do they regard themselves still as Germans, more as Brazilians, or as German-Brazilians? Is there still some form of common identity among the sixth generation? And if so, what narratives helped to construct this identity? Which aspects dominate – ethnical or national ones? What circumstances complicated or facilitated their integration? And is this integration regarded as part of a success story or one of loss?

Strahlende Verfolger (Radiant Pursuers)
by Elfriede Jelinek

“Why did he emigrate? Why is he somewhere else now?” These are questions posed by Elfriede Jelinek who this time looks into the nature of German identity in an alien environment – “let’s say Brazil”. A fierce new text by Jelinek that was specifically written for Karin Beier’s Brazilian theatre project.

With: Florence Adjidome, Yorck Dippe, Ute Hannig, Rosemary Hardy, Markus John, Martin Pawlowsky, Sasha Rau, Bastian Reiber, Mariana Senne, Michael Weber, Kathrin Wehlisch, Michael Wittenborn Musician: Malte Witte

Directed by Karin Beier Set Design: Johannes Schütz Costume Design: Hannah Petersen Music: Jörg Gollasch Lighting Design: Susanne Ressin Documentary/Camera: Video: Meika Dresenkamp Choreography: Valentí Rocamora i Torà, Thomas Stache Dramaturgy: Christian Tschirner

»Moneybags in Sugar Land« is a co-production with Serviço Social do Comércio de São Paulo, the Goethe-Institut and br. São Paulo. It is supported by the Kulturstiftung des Bundes.