GRUNDGESETZ EIN CHORISCHER STRESSTEST
On 3 October 1990, the union of the two German states was officially declared, and that day has been celebrated as the Day of the Germans ever since. On 3 October 2018, Marta Górnicka presented the GRUNDGESETZ in front of the Brandenburg Gate with a chorus of fifty professional and non-professional actors from many different spectra of the civil society. They questioned the seventy-year-old legal text. This performative stress test sought to demonstrate the limits and the current tensile strength of the words in the constitution within the tensions of society: Who is the subject of the German constitution? In whose name does it speak? To whom does it belong? Who are “the people”? Who is “the majority”? Can a document which enshrines the fundamental rights “of all Germans” put a stop to violence and racism? Is any document that “guarantees” democratic values capable of “defending” them?
I’m interested in the tension between law and violence ‒ the limits and durability of a consensus that protects us against violence and against seeing our opponent’s death as the ultimate way of resolving conflicts. This consensus can only be achieved in language. The words that are written into laws are supposed to guarantee disarmament. They literally knock weapons out of our hands and enable us to overcome the rule of violence. But words can also arm our opponents. Every act of genocide or systemic violence, every refusal of solidarity that brings death, are first effected in language.
German society today is deeply divided. Two different visions of community are clashing – national and homogeneous versus open and diverse. A fight is waged with words and for words.
Whose vision ‘promotes world peace’? Who is ‘the nation’? Who forms ‘a majority’? Who is the citizen? Who is the alien? Who does this country belong to? Who are ‘ALLE DEUTSCHEN!’?
By subjecting the Basic Law to stress testing, we test the maximum workload and capacity that its words can handle
Premiere On 3 October 2018, Brandenburger Gate, Berlin
Cast: Maryam Abu Khaled, Emre Aksızoğlu, Abd-Almalek Arabo, Tamer Arslan, Elmira Bahrami, Christian Behrend, Mareike Beykirch, Wera Bunge, Karim Daoud, Saro Emirze, Aylin Esener, Hala Faisal, Tahera Hashemi, Björn Hauke, Katrin Heller, Lénárd Kókai, Mai-Phuong Kollath, Léonie Kurtz, Thibaud Kurtz, Lindy Larsson, Mariette Morgenstern-Minnemann, Nika Mišković, Jasmina Musić, Magda RomaPrzybylska, Soraya Reichl, Mathis Reinhardt, Tucké Royale, Filip Rutkowski, Abak Safaei-Rad, Elena Schmidt, Marie-Carlotta Schmidt, Nathalie Seiss, SandraSelimović, Simonida Selimović, Zora Schemm, Helena Simon, Johanna Skirecki, Peter Sondermann, Fatima Taih, Hasan Taşgin, Füsun Türeli, Volkan Türeli, Linda Vaher, Annika Weitzendorf, Rika Weninger, Dusty Whistles, Paul Wollin, Mehmet Yılmaz and Berliner Fanfarenzug e.V. und SG Fanfarenzug Potsdam e.V.
Concept, libretto, directing: Marta Górnicka
Stage design: Robert Rumas
Concept choreography: Anna Godowska
Choreography Berlin:Tomasz Wygoda
Composition: Marta Górnicka, Polina Lapkowskaja
Costumes: Isabell Reisinger
Dramaturgy: Aljoscha Begrich
Translation libretto: Andreas Volk
Collaboration translation libretto: Paulina Dominik
Recording & live cutting: Jesse Jonas Kracht
Vocal coach: Lénárd Kókai
Management fanfare parade: Nancy Dressel
Collaboration dramaturgy/chorus casting: Julia Büki
Artistic advice: Agata Adamiecka
Technical directory: Thomas Kirsten
Coordination sound/video: Christopher von Nathusius
Sound: Benjamin Schultz
Video: Jesse Jonas Kracht
Assistant director: Dominika Homa, Isabella Sedlak
Assistant stage design: Luisa Puschendorf
Assistant choreography: Therese Nübling
Assistant costume design: Ottavia Tröster
Project director: Christine Leyerle
Production: Marie Milbacher, Leonie Webb
Child care: Shiran Shasha
Dramaturgy intern: Finja Wilke
Directing intern: Paola Borys, Janna Dohrmann.
Production: Maxim Gorki Theater