(you hear it) all the time
by Isabelle Kranabetter
Linguistic-musical Performance | Premiere
August 30 & 31, 2019 | 20:00
Tickets: 13 € | 8 € (ermäßigt)
A linguistic-musical study about identity and absurdity of the interpreter as a supposedly neutral background actor, about translating in general as well as in interaction between human and translating technology.
Nowadays our ears are more than ever familiar with the sounds of foreign languages. At the same time translating proves to be a fundamental cultural technique not only for mutual understanding, but also in bureaucratic contexts such as migration and asylum. Thus a third entity is added to a classical conversation, which is based on the exchange of information: the interpreter. An invisible background actor, seemingly neutral and uninvolved, but with some challenges on his/her coat-tails.
What if the interpreted information and the image we as an audience create ourselves of the speaking person, drift apart hardheadedly?
In a linguistic-musical performance with actors as well as real interpreters the issues of identity, credibility and consistent failure, given the perils of that triangle constellation, are being discussed. The permanently changing game of reality and fiction touches the existentiality of the stories told on stage equally as a comicality that evolves from the borders of understanding.
In doing so the human voice as well as its technical convertions form the basis of a composition that steadily addresses the scales, enmeshments and transitions of linguisticality and musicality.
In English, German, French, Hungarian, Tamil, Arabic, Italian
Performers: Meimouna Coffi, Márton Kovács, Manickam Yogeswaran, Jakob Rauber |
Isabelle Kranabetter, concept and production | Alexander Chernyshkov, compositions | Karolina Serafin, video and space | Elise Schobeß, dramaturgy | Chris Wohlrab, production management
A coproduction with DNT/Kunstfest Weimar; in cooperation with Theater im Delphi, TATWERK | Performative Research and Collegium Hungaricum Berlin
Supported by the Senate Department for Culture and Europe’s introductory grant