A lonely voice sleepless in front of the Internet, at night. New tab – a man in the bathtub. New tab – a young woman inside a watertank. New tab – a girl on the tracks.
Eve Leigh’s dream – or nightmare – about the solitude of pain, about digital bodies as (questionable) freedom from one’s own limited body, about handicaps, accessibility, force and personal freedom, premiered at the Royal Court Theatre in London in November/December 2019.
Commissioned by Rowohl Theater Verlag, Bochert Translations translates this fascinating text by the British-American playwright into German.
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).
In their mission statement, the international theatre festival in Munich explain: “SPIELART, however, also always concentrates on posing questions about theater itself as an art form, and on consistently re-exploring or re-establishing theater with approaches from the fringes. Important accents of the festival’s platform are also its entrenchment in the city’s cultural life and the dialogue between the city’s artistic and institutional energies.”
So the festival links unusual, pioneering forms of performative expression of international theatre artists to its audience in Germany’s third largest metropolis, Munich. This year in November, artistic teams will come from China, South Africa, Argentina, Malaysia, Korea, the Philippines, Belgium, Scottland, the U.S.A., the Lebanon, Kenia, and many other countries. Far beyond an also international, European horizon, the selection of productions is truly intercontinental.
The translations of programme descriptions into English will be provided by Bochert Translations.
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.
The international festival Theaterformen alternates annually between the cities of Braunschweig and Hannover. This year, the festival collaborates with the Kinani Festival in Maputo, Mosambique, as well as with the National Arts Festival Grahamstown, South Africa. Navigate here for the festival programm.
The translations of the web contents and the programme booklet into English have been accomplished by Bochert Translations.
This year’s selection of production invited to the UNIDRAM theatre festival in Potsdam includes Kalle Nio and the WHS ensemble from Finland. They present their production CUTTING EDGE. In a kind of stage magic show, or physical theatre, the three performers Inês Campos, Vera Selene Tegelman and Jukka Tarvainen·deal with violent kinds of dying. Executions, beheadings, people cut in two, severed heads – all glossy, no splatter, even funny.
The show provides German supertitles. The translation of the titles has been accomplished by Bochert Translations.