Die schnittige Menge

 

The Advertising Agency Jung von Matt has investigated the typical german livingroom and had a representation built in their Hamburg offices. The piece, Die schnittige Menge, works with the concept of "The Average Livingroom". There is the living area with its expected attributes, there are the 2.2 people that inhabit it and there are the movements you would expect to find in such a place. Don't be fooled however, this place - The Average Living Room - does not exist, it is only a statistical figure. And this is the point where normality shifts towards absurdity. During the course of the show we see the performers seesaw between contrasting ideas of familiar and foreign, classification and individuality, everyday life and specialization. They work their way through their own averageness until at long last, all standardization left behind, they sink back into the cushions.

 

Concept and choreography: Gudrun Lange

In cooperation with Jo Kappl, Katharina Oberlik, Markus Pendzialek

Performance: Jo Kappl, Gudrun Lange, Markus Pendzialek

Music: Pascal Fuhlbrügge

Dramaturgy: Sylvi Kretzschmar

Assistence: Rosa Wernecke

Photos: Thies Rätzke

 

Premiere: Nov 18th 2009, P1 Kampnagel

 

Production: K3 - Tanzplan Hamburg at Kampnagel

Coproduction: Forum Freies Theater Düsseldorf

Sponsored by Hamburgische Kulturstiftung

Tanzplan Hamburg is been sponsored by Tanzplan Deutschland / Kulturstiftung des Bundes, and Kulturbehörde der Freien und Hansestadt Hamburg and takes place in cooperation with Kampnagel Hamburg.

Forum Freies Theater is been supported by Landeshauptstadt Düsseldorf and Ministerpräsident des Landes NRW.

 

The Choreographer in Residence [...] is interested in the average living room and the average movements of the average family consisting of father, mother (she herself) and young son. [...] And what one does in their living room from reading or playing games to curling up in an armchair has been analyzed in detail by Ikea (the Swedish furniture company). These are strict rules for a concept, which Lange has chosen to consequently develop her choreography around. In the end to stave off boredom observing these three performers in changing constellations of watching TV there comes an acrobatic feature with jumping and rolling over the table and couches performed by the son. Finally, as humans and furniture blend into a single mass, laughter frees the audience.

 

Irmela Kästner in Die Welt, 20.11.2009