Curated by Atelier Impopulaire
Produced by Volksbühne and Berlinale with Atelier Impopulaire
With contributions by:
Chantal Akerman, Lynn Herschman Leeson, Thomas Heise, Tilda Swinton, Jean-Luc Godard, Wang Bing, Ildicó Enyedi, Chen Kaige, Atom Egoyan, Spike Lee, Wong Kar-Wai, Ang Lee, Tom Tykwer, Alexandra Kluge , Madji-da Abdim, Raoul Peck, Christoph Schlingensief, Lilith Stangenberg, Michael Haneke, Li Yang, Donald Sutherland, Vanessa Redgrave, Zhang Yimou, Claude Lanzmann, Richard Linklater, Dan Talbot, Theo Angelopoulos, Bai Ling, Bruno Ganz, Peter Berling , Helge Schneider, Armin Müller-Stahl, Hannelore Hoger, Kaori Momoi, Yu Nan, Shu Qi, Tony Gerber and Jesse Moss, Werner Nekes, Sarah Morris
and a special project by Jonathan Meese.
Conceived like a contemporary operetta, Das Theater der Kinos explores the dialectic and complex relationship between Alexander Kluge and the seventh art, unfolded on two floors of the Volksbühne theater. If theatron in Greek was the designated space for viewing, offering the possibility to listen, watch and observe, kinema embodied the idea of movement, but also a movement that can bring a change. From the historical collaborations with Christoph Schlingensief to the ongoing monumental webseries The Eye of the Dragonfly, for Alexander Kluge the Volksbühne represents the symbol of a mutant “kinematic theatron” that has challenged the main principles of his oeuvre - simultaneity, polyphony and montage-, contributing to define his artistic politics of time and to change the way we perceive and experience both art forms. Giving the spectator the unique chance to inhabit the common spaces of the theater like waiting rooms, salons, wardrobes and foyers, Das Theater der Kinos traces a personal and somehow surprising history of cinema that works like a machine à penser.
OPENING & PERFORMANCE NIGHT from 6 pm
Program No. 1 Roter Salon 7 pm
Introduction by Alexander Kluge
Ship sinking with man and mouse. The robust planks of the Berliner Volksbühne: Unsinkable in a crisis. The workshops on Rosa-Luxemburg-Platz & this theater as a workshop in general. Alexander Kluge and Alexander Weil (2018, 91 min)
19:50 Introduction by Alexander Kluge
20:00 Film program on the occasion of the 75th return of Zero Hour: 1945-2020
Black end, hubris: June 22, 1941 (2019, 3 min)
The gardener from the Nazi Party Congress (2017, 4 min)
The legendary AIDA by Hans Neuenfels at the Frankfurt Opera. The only remaining fragment / "Potlatsch - diachron - controversial". Ballet of Power - From Dance to Parade Step (2019, 8 Min)
Spring with white flags. Film premiere (2020, 63 min)
“Unlearn Parsifal!”. How can you unlearn something that you don't even know? Homage for for the set designer of the Volksbühne Jonathan Meese and his composer Bernhard Lang (2017, 60 min)
Program No. 2 Gruner Salon 7. 30 pm
Program with films, performances, readings, music and, above all, films. Film length at least 120min. With Sir Henry, Alexander Kluge and guests. Film length minimally 120 min. With Sir Henry, Alexander Kluge, and other guests.
Dinamita. Minute film (1 min)
Sarastro, Prince of Reason (10 min)
There is no real life in the wrong rabbit (2 min)
Multiple images for Einar Schleef. With whale tone. Wagner's PARSIFAL / Brecht's PUNTILA . With Jutta Hoffmann (2 min)
Oh, how gruesome we love. Minute opera for Sophie Rois (2020, 2 min)
We philosophers from Eve's rib ( 2018, 2 min)
On a knife's edge: 1929 (with HM Enzensberger, Alfred Edel, Olli Schulz, 2020, 90 min)
Closing. As “last-call-audience-rouser” at the end of the program:
Cosmic Music (2020, 3 Min)
I speak 13 languages fluently (with Helge Schneider, 2019, 4 min)
Infra-structure rap (film triptych from Angola, 2019, 2 min)
The wandering encyclopedia and what to do when a Far Eastern man coughs next to me (with Helge Schneider, 2019, 6 min)
Born in the town of Halberstadt in 1932, Alexander Kluge is one of the leading intellectual voices in Germany today. His huge body of work, which includes film, fiction, social theory, television, and political action on various cultural fronts, can be regarded as a continuation of the Critical Theory of the Frankfurt School and constitutes a unique venture in the cultural history of post -was Germany. The motives, themes, and formal strategies of Kluge's radical cinéma impur , raise questions on representation and gender, history and memory, theory in its relation to practice, and the ongoing vitality of modernism.
February 11-March 1