CONCEPT: Stefan Kaegi / Dominic Huber
VIDEO: Bruno Deville
DRAMATURGY: Katja Hagedorn
SOUND DESIGN: Frédéric Morier
ARTISTIC ASSISTANCE: Magali Tosato, Déborah Helle
SCENOGRAPHICAL ASSISTANCE: Clio Van Aerde, Marine Brosse
TECHNICAL CONCEPTION AND PRODUCTION OF DECORATION: dílny Théâtre de Vidy
PRODUCTION: Théâtre de Vidy, Lausanne
COPRODUCTION: Rimini Apparat, Schauspielhaus Zürich, Bonlieu Scene nationale Annecy et la Bâtie-Festival de Geneve v rámci programu INTERREG France-Suisse 2014-2020, Maillon, Théâtre de Strasbourg-scene européenne, Stadsschouwburg Amsterdam, Staatsschauspiel Dresden, Carolina Performing Arts
WITH THE SUPPORT OF: Fondation Casino Barriere, Montreux, radnice Berlína - Chancellerie du Sénat - Affaires culturelles
TURNÉ PODPORUJE Pro Helvetia - švýcarská rada umění
Premiere September 14th, 2016, Théâtre de Vidy, Lausanne
NACHLASS is a German word made up of the word “nach” (after) and “lassen” (leave). Nachlass indicates the whole of the material and immaterial belongings that a deceased person leaves behind. In the narrow sense of the word, especially in a research sense, it covers all the records (letters, works, documents etc.) that the person owned, or the collection that he or she put together. Director Stefan Kaegi and set designer Dominic Huber, together with the film maker Bruno Deville and dramaturg Katja Hagedorn, visited people who, for various reasons, had decided to prepare for their departure from life. With each of them they created a memorial room, in which they staged the testimony that the person in question wanted to leave behind them.
Stefan Kaegi and his colleagues have gone much further than an ordinary document of the type of raw testimony that we sometimes come across in the world of fine art. Each of the people who opened themselves up to Kaegi has received their own small theatre. They have chosen the stage themselves, they have a limited amount of time, but also the opportunity to talk directly to the audience. (…) It is moving, disturbing, but not sad. More bracing – and at times almost joyful.
– Mireille Descombes, L’Hebdo
Delicately and gently we become acquainted with these confidential testimonies. There is no fear or pathos here, just humanity flowing through the walls.
– Marie Sorbier, I/O Gazette
STEFAN KAEGI (1972) A creator of documentary theatre, he works on the basis of research and work with the public, often involving people who are not trained actors but who have something to say. He studied fine art in Zurich as well as applied theatre studies in Giessen (where, among other people, René Pollesch also studied). In 2000, together with Helgard Haug and Daniel Wetzel, he founded the theatre company Rimini Protokoll. Based in Berlin, it is considered to be one of the most interesting theatre phenomena in contemporary Europe, and has won a number of awards, including the German theatre award Der Faust (2007), the New Theatre Reality Award (as part of the European Theatre Awards 2008) and a Silver Lion at the 41st Venice Biennale (2011). In 2015, Kaegi himself gained the major Swiss theatre award, the Hans Reinhart Ring.
DOMINIC HUBER (1972) A set designer and director who likes to work with spaces into which the audience (as individuals and groups) are able to actively enter. He works with principles of amended reality, and artistically reworks real places and situations. The result is that the audience becomes actively involved and probes the surprising qualities of its surroundings. Huber studied architecture in Zurich, and since 1999 has worked as a set designer for independent productions in Zurich, Basel and Berlin. He has worked continually with Stefan Kaegi from 2008, and with Rimini Protokoll he has taken part, for example, in the famous project Situation Rooms. He regularly lectures at the Zurich art school ZHdK.
THÉÂTRE DE VIDY One of the most significant Swiss artistic institutions is located in the district of Vidy in the city of Lausanne. Its headquarters are in a building designed by architect Max Bill for the National Exhibition in 1964, with a view of Lake Geneva and the Alps. It now has four theatre rooms with topquality equipment, allowing the theatre to engage in exceptional coproductions. Under the leadership of Vincent Baudriller the theatre works with top European artists (including, as well as Stefan Kaegi, Thomas Ostermeier and Thom Luz) and at the same time also supports young talents in Swiss theatre.