It is my outstanding pleasure and privilege to translate THE TRIALS (DIE PROZESSE), the newest text by British playwright Dawn King. The play is a commission by the Düsseldorfer Schauspielhaus, its world premiere is scheduled for 04 June 2021 at the Bürgerbühne Düsseldorf.
In a not too distant future, a jury of children and teenagers are to decide over the fate of the generations of their parents. The climate catastrophe has happened, the ressources of an overheating earth will not suffice for its too many human inhabitants. With the trials, the former generation is judged by the future one for its responsibility for this catastrophe, the guilty ones are executed: fewer mouths to feed.
With her great success FOXFINDER (finalist of the Suzan Smith Blackburn Prize 2013/14) and her play CHIFFREN, King is already a name even on German stages.
Adn once again, In Good Company have developed a wonderful script together wiht Ross Dungan. In DISPLACED, an adaptation of Stephan Abarbanell’s novel MORGENLAND, it is in 1946 when Lilya travels from the dusty streets of Jerusalem to post-war Berlin:
Lilya, a young activist fighting for an independent state of Israel, is sent to Germany to find out about the whereabouts of a missing Jewish scientist. Thus begins a risky journey for the sensitive and strong-headed Lilya which not only brings to light political implications that would put pressure on the British rule in Palestine; while getting closer to the truth, she starts questioning her own mission …
Obstetrician Michelle and neuroscientist Eve are among the privileged to live unter “the Dome”, the only place on the otherwise uninhabitible planet where life is possible, albeit only for a chosen few – and under gruesome conditions. The human species being endangered, women have become birth machines. Life declared unfit is instantly made into food. Together with Tanaka – who came from “far from here” and was only admitted to measure the radiation in his bones – the women develop a method to prenatally create cortical connections to facilitate the leap to a higher evolutionary level on which “heart and mind” are connected and made one. With Opa, Eve’s grandfather, they escape the Dome and, in nature struggling to regain its balance, they sacrifice themselves to give birth to these creatures of a new, higher species and thus literally save the future.
Her characters are strong and fascinating, her contexts brilliant and horrifying, and her tone always warm and, in the end, loving.
– Andrew Solomon, Ex-Vorsitzender des PEN American Centers
A utopian vision for a reconfigured race that will be “Other Than We” – hybrid creatures, human/non-human that will adapt and sustain themselves in the treacherous territory outside of The Dome. Malpede uses image-rich language and striking stage pictures to transmit an urgent call for global unity, imagination, transformation, and action.
– Cindy Rosenthal, The Theatre Times
Wild, fun, and unnerving.
— Andrew Revkin, science and environmental journalist
A playful but powerful meditation on urgent philosophical questions . . . consciousness, language, evolution, life and death.
– Jo Mispel, Motherhood Later
Simultaneously unsettling, surreal and hopeful . . . a post-apocalyptic scenario in which survivors have a chance to remake the world . . . a grand vision, born of catastrophe, but with the possibility of triumph.
– Eleanor Bader, The Indypendent
It questions the origins of consciousness and thrives on the thrill of creating a better human species . . . Can the quartet of fugitives accomplish their outlandish goal?
– Lena Zeldovitch, Woman Around Town
For decades, and after 19 plays, the US American eco-feminist Karen Malpede is a renowned playwright/director in US theatre. In 1995, together with her partner and actor George Bartenieff, she founded the Theater Three Collaborative to be able to produce plays that would otherwise not be produced because of their social justice themes. Her most recent play Extreme Whether for example shows how scientists desperately fight for telling the truth about climate change against the oil industry’s resistance, while her earlier play Another Life deals with the U. S. torture program. In her entire work, she deals with social-political aspects, feminism, climate, and environment. She teaches at the John Jay College of Criminal Justice (New York City).
Throughout 2013-2016, US playwright Andrea Stolowitz saw three productions of her play ITHAKA in Vancouver, Chicago and Portland (OR), and won the Artists Repertory Theater’s award and the Oregan Book Award in Drama. In 2014, the play and the playwright were presented in a staged reading by Drama Panorama.
The play is now available in German translation and for a German language premiere.
The applications for the Capital of Culture status 2025 have been sent. Next to eight German applicant cities Nuremberg, Gera, Hanover, Chemnitz, Hildesheim, Dresden, Magdeburg, the small city of Zittau in teh far southeast of Saxony comes across as a surprise. Her application as a cultural region in the three-country region and the east Saxon cultural area, however, is loaded with convincing cross-border and cross-cultural, truly European concept – in contrast to the cities that are culturally dominant (Dresden) or rather unexiting (Hanover).
The application had to be submitted in English, the extensive bid book was translated by Bochert Translations.
The German Center of the International Theatre Institute’s yearbook 2018 is now available. The title: Zusammen_wirken.
In his detailed article, Jan van Lathem discusses the implications of the Schengen agreement for artistic collaborations beyond the EU borders. What does one need to keep in mind with such collaborations, what visa regulations apply, which limitations apply to visiting and traveling artists? Where is information available?
The international theatre festival Theaterformen, this year hosted in Braunschweig, partnered with the theatre portal nachtkritik.de to report about the productions presented in the framework of the festival. Writers with different working languages compose essays, interviews, and reviews about the productions or the thematic subjects that surface throughout the festival.
The required translations from Macedonian, Portuguese, or from German into English are provided by Bochert Translations.
Since last year’s edition, the international theater festival Theaterformen runs a blog with an editorial team of its own to accompany the festival with thematic and critical contributions. The articles are composed, among other languages, in German, Arabic, or French.
The translations into and from these languages are provided by Bochert Translations.