Black Flame - A Noise Essay - Schedule, Program & Tickets
Black Flame - A Noise Essay
"We all know wherever there is oil, there is violence." (Manuela Infante)
Since the middle of the 18th century, the oil industry has been the starting point for territorial, economic wars and energy-political dependencies. The decades-long exploitation of the "black gold" has contributed massively to the climate crisis. After two years of global pandemic, oil prices have skyrocketed. In this already dire situation, on February 24, 2022, Russia, the world's third largest oil producer, launched a war of aggression against Ukraine. Struggling with the imposition of sanctions, society is faced with a veritable oil price shock and the question: Is a new system conceivable that would make it possible to use oil alternatively or even do without it altogether? And what are the different facets behind the fossil fuel? How can oil be understood differently, perhaps even made audible?
The Chilean director, playwright and musician Manuela Infante will translate these questions about the raw material oil into a powerfully sounding essayistic evening of theater for the big stage. Internationally, she is considered one of the most interesting theater voices, known for making complex themes sensually tangible in a magical, pop-concert-like cosmos. From the point of view of non-humanism, Infante tries to give objects and nature a voice. In the polyphonic monologue VEGETATIVE STATE she portrayed the impossibility of a dialogue between humans and plants, in HOW TO TURN INTO STONE she devoted herself to stones as a model for political resistance and in NOISE she examined street noise as a signal for change.
In her work, she consistently deals with the exploitative relationship between humans and non-humans - and how this is constantly politicized in the belief that humans are the measure of all things, especially in the sense of male, white supremacy. In a kind of decolonization of current theater practices, the director wants to create new perspectives that counteract the narcissism of the Anthropocene. For example, by using loop pedals as stage resources that perform as well as a human body. And by creating polyphonic spaces in which knowledge is not taught, but explored how narratives can be fossil or fluid. In any case, in Manuela Infante's essayistic and choreographic conception of theater she will create a space for obscurity and mystery.
"To conjecture that the world is more than a construction of the human being, to remember that we are surrounded by beings, things that exceed what we know or will ever know about them, is a practice that I consider absolutely necessary today." ( Manuela Infanta)
Directed by Manuela Infante
Stage Michael Sieberock-Serafimowitsch
Costume Mona Ulrich
Music/Sound Diego Noguera
Dramaturgy Jennifer Weiss
Research and dramaturgy collaboration with Camila Valladares
Subject to change.
Since the middle of the 18th century, the oil industry has been the starting point for territorial, economic wars and energy-political dependencies. The decades-long exploitation of the "black gold" has contributed massively to the climate crisis. After two years of global pandemic, oil prices have skyrocketed. In this already dire situation, on February 24, 2022, Russia, the world's third largest oil producer, launched a war of aggression against Ukraine. Struggling with the imposition of sanctions, society is faced with a veritable oil price shock and the question: Is a new system conceivable that would make it possible to use oil alternatively or even do without it altogether? And what are the different facets behind the fossil fuel? How can oil be understood differently, perhaps even made audible?
The Chilean director, playwright and musician Manuela Infante will translate these questions about the raw material oil into a powerfully sounding essayistic evening of theater for the big stage. Internationally, she is considered one of the most interesting theater voices, known for making complex themes sensually tangible in a magical, pop-concert-like cosmos. From the point of view of non-humanism, Infante tries to give objects and nature a voice. In the polyphonic monologue VEGETATIVE STATE she portrayed the impossibility of a dialogue between humans and plants, in HOW TO TURN INTO STONE she devoted herself to stones as a model for political resistance and in NOISE she examined street noise as a signal for change.
In her work, she consistently deals with the exploitative relationship between humans and non-humans - and how this is constantly politicized in the belief that humans are the measure of all things, especially in the sense of male, white supremacy. In a kind of decolonization of current theater practices, the director wants to create new perspectives that counteract the narcissism of the Anthropocene. For example, by using loop pedals as stage resources that perform as well as a human body. And by creating polyphonic spaces in which knowledge is not taught, but explored how narratives can be fossil or fluid. In any case, in Manuela Infante's essayistic and choreographic conception of theater she will create a space for obscurity and mystery.
"To conjecture that the world is more than a construction of the human being, to remember that we are surrounded by beings, things that exceed what we know or will ever know about them, is a practice that I consider absolutely necessary today." ( Manuela Infanta)
Directed by Manuela Infante
Stage Michael Sieberock-Serafimowitsch
Costume Mona Ulrich
Music/Sound Diego Noguera
Dramaturgy Jennifer Weiss
Research and dramaturgy collaboration with Camila Valladares
Subject to change.
There are no products matching the selection.