When the festival Neue Stücke aus Europa (New Plays from Europe) was started in 1992 in Germany in the former capital Bonn, Europe was going through a time of upheaval. The biennale soon grew into one of the most important events for dialogue between European authors. It was a place of discussion, where mutual understanding and the reality of life in Europe could be experienced first-hand. With Martin Hammer and Maria M. Ludewig, a young generation to over the helm in 2016. They redesigned the festival as the WIESBADEN BIENNALE and at the same time went back to its roots. Under the heading “This is not Europe”, the critical question at the centre of the first edition was the possibility of a shared European narrative. In 2018, the WIESBADEN BIENNALE will continue what they started then. Alongside international guest shows and as part of the larger project HINTERLAND, the festival will focus on the sometimes tense relationship between metropolises and regions away from the big centres. Internationally renowned artists will develop large-format pieces in public space, which will probe the historical urban landscape at its most sensitive spots.
From 23.8. to 2.9.2018, the second WIESBADEN BIENNALE will take place in cooperation with the Schlachthof Wiesbaden, the Museum Wiesbaden, the Nassauischer Kunstverein Wiesbaden e.V. and the Caligari Filmbühne in the empty City Passage, the Staatstheater Wiesbaden and several temporary venues in the city area.
Hinterland – the word means an area beyond a city, in the USA they call it fly-over country, and it’s also a promise: fewer rules, less security, more freedom – a wasteland. The survival of the fittest applies there, anyone not strong enough is forced out.
It’s inhospitable, dirty and untidy. There’s plenty of space though. Utopias are constructed and then abandoned. Moral certainties and laws exist somewhere far away. It could be the seeds of the coming revolution or a breeding ground for violence and crime. Want to know what it’s really like?
Hinterland isn’t just a geographical location anymore, it’s the flipside of political correctness. It’s the pent-up anger about apparently unchangeable circumstances, which are experienced as unjust and oppressive. When the inner cities become wastelands and rising rents force residents to the outskirts, then Hinterland is the experience of powerlessness, the resignation that nothing can be done about one’s everyday situation. Do political representatives even decide what happens anymore or is it just multi-national investment funds with letterboxes in tax havens?
What would it be like to occupy the Hinterland? To just appropriate it. A new start in the middle of the dirt of the unknown. Would we be able to take it, facing our own fear? Do we have the courage to look the shot, angry animal of fallen pride in the eyes? What if it’s really the end of an old era and the West’s time is up as the good, great example for everyone? Will the sins of the past yet crawl out of their holes to challenge us? What price will they ask us to pay? Welcome to Hinterland! The future began long ago!
BAD NEWS for reading or downloading:
Ticket Sale starts on 18th April 2018 at 10:00 AM.
Theatre or festival colleagues may reserve professional rate tickets (advance booking) for selected performances via Email at our festival office.
A professional reduction of 20% is available for shows at following venues: Malsaal, Baustelle Kleines Haus, Performatives Pornokino (performative porn-cinema), City Passage. Except these two shows: Enciclopedia X and My big sister taught me this lap dance.
Please let us know via Email when, at which time and for which production(s) you need tickets. If you are bringing friends and need more than one ticket per performance, please inform us whether the extra tickets are for colleagues, or regular price tickets, or for persons eligible for a concession (for example, students, etc.).
Please present proof of eligibility on admission to the performances.
Mara Louise von Zitzewitz
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Hessisches Staatstheater Wiesbaden
Uwe Eric Laufenberg
Maria Magdalena Ludewig, Martin Hammer,
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Fons Hickmann m23
Fons Hickmann, Bjoern Wolf, Raúl Kokott,
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