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Chris Kondek & Christiane Kuehl


For a long time now media prophets have promised a better world. Radio diminished the immense vastness of space, TV has created the global village, and virtual reality gives us the world we have always longed for. The promise is clear: we can now do anything we want, be everywhere and participate in everything.
The team of Hier ist der Apparat embarks on a journey from radio via television to video games, following a few detours on this way to utopia. The performers go on this journey alongside the first world-wide media superstar, Charles Lindbergh, as seen with the eyes of Germany’s first radio theoretician, Bertolt Brecht. In 1929 Brecht wrote the radio play "Der Ozeanflug". Brecht’s media drama reconstructs how Lindbergh and his plane fight against the elements, how they finally surmount them, until they land in Paris. Hier ist der Apparat changes the frequency in this radio drama and imagines "Der Ozeanflug" as a contemporary radio-talkshow within a TV-talkshow and as a subject of an hallucinatory ego shooter video game.

Pop theoretician Marshall McLuhan (who, by the way, will also be a guest at the show) once said that you can only really understand a medium when it becomes part of another one: "One can only understand a radio play when you see it on the stage as a TV-show."

Chris Kondek
The American video artist CHRISTOPHER KONDEK (1962, Boston) has been making video for theatre for nearly 15 years. He was the man behind the videos for the famed Wooster Group from New York, who were pioneers in the integration of media and performance in theatre, in productions such as The hairy ape and House lights.He has also worked very closely with the artist and musician Laurie Anderson, with whom he studied the integration and interaction of video and the action on the playing area. In 2001 he crossed the ocean and came to Europe, creating video images for several productions by Meg Stuart/Damaged Goods, including ALIBI and Visitors only. In January 2003 he premiered his first own production, Dead Cat Bounce. Kondek lives and works in Berlin.

Chris Kondek, Berlin/New York

  "Tonight, we won´t be playing for your money.
   Tonight, we will play with your money."

DEAD CAT BOUNCE is a stock market performance. It is a theatre piece about money, international cash flow, power, companies, speculation, greed and fear – and, at the same time, distinctively more than that: DCB is not only about the market, DCB is actually playing the market.

In each performance we take the box office of that very night and invest it for 90 minutes via an e-brokerage account at the New York Stock Exchange. This is possible because european show time (8:30 pm–10 pm) parallels trading hours on Wall Street (2:30 pm–4 pm). Our goal is to make, during the show, a profit one percent. If we do, we share the winnings with the audience (it is their money, after all). If we don´t, we act like anybody else and call it bad luck or fate and send everybody home hungry.

DCB is a live performance that totally relies on and works with real time information. The same charts and graphs that professional traders are using surround us on stage. While mixing video, music, stories and internet surfaces, the rhythm of the show is given by the fluctuation of prices on the stock exchange that very evening. The performance of the stocks, the drama of the market defines the dramaturgy on stage.

Two actors, three tec-performers constantly connected to the internet, and a musician welcome and guide the audience through the evening. While we buy and sell stocks, we explain and lay open the mechanisms of the market. We research share holding companies on the internet, share our information, let greed and fear guide us. We invite the spectators to get involved, make decisions, take chances. Buy, sell, hold. How do you make money? How do you make more money? How do you realize when to get out so others deal with the crash? And how come you are having such fun doing this?

By and with: Herbert Klitzsch (set design), Chris Kondek (director/video design), Christiane Kühl (dramaturgy, performance), Jan Linders (dramaturgy), Victor Morales (performance), Alexander Schröder (performance), Marc Stephan (technical director), Hannes Strobl (music) and Simon Versnel (performance).
Performance in english, or english and german/dutch/french/spanish.

DEAD CAT BOUNCE is a production of the Productiehuis Rotterdam (Rotterdamse Schouwburg), Hebbel am Ufer (HAU), Berlin and Künstlerhaus Mousonturm, Frankfurt am Main. It received funding of the Senatsverwaltung für Wissenschaft, Forschung und Kultur, Berlin and the Fonds Darstellende Künste e.V., Bonn.

In 2005, DEAD CAT BOUNCE was awarded the Goethe-Institute-Prize and the ZDFtheaterkanal-Prize (public tv). The production toured, amoung other places, to Munich (Münchner Kammerspiele), Gent (Kunstencentrum Vooruit), Leuven (STUK), Warschau (EC47), Tampere (Teatterikesä), Zürich (Theaterhaus Gessnerallee) and Tel Aviv (Tmuma Theater).

Interview with Chris Kondek and Christiane Kuehl

Collecting references and data through meetings with Korean financial experts and economists for the new work.

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