Getränk Hoffnung

Shortly before or long after its demise, survivors of our civilization meet in the Theater Basel for a post-apocalyptic symposium: a humanistic prepper on a solar moped, an android with a degree in cultural anthropology, and various specimens of species that cannot be killed - raccoon, mushroom and cockroach. They discuss why and how it could come to this. Only eight times in two weeks - but with practical tips on how to survive in inhospitable environments. Be prepared! (Theater Basel)

Motifs and images of this Western-distillation were taken by David Lindemann from the American cult film Ulzana's Raid from 1972. Two men, the soldier DeBuin and the Indian Scout KenNiTay, begin the search for the cruel Apache chief Ulzana. But as DeBuin tries to convince KenNiTay of his concept of equality ("We want to bring you humanity, democracy, and freedom, and because people are equal, we bring you these rights of equality"), it is made clear that the Indians, who are temporarily under contract, belong to a different system of values: "We insist on what distinguishes us from you, indeed, according to our way of feeling and thinking, we must torture our enemy to transfer their power to us."

"The language characterization is captivating ... DeBuin courts the opponent, missionizes, wants to convince, wants to offer his 'equality', to 'give it to the subordinate, the barbarian' ... Scout speaks with a firm accent, unshakable in opinion and feeling. The old ideals of childhood--the red man and the white man were once blood brothers, both brave, both valuable--are revealed to us to be linguistically impossible. " (Ricarda Bethke in der Freitag)

Mr / Mrs Koch is invited to the TV studio. The kitchen in crisis is his / her specialty. But also the crisis of the kitchen. The kitchen equipment butcher's block symbolizes the tragic fate of an East-Westphalian kitchen builder. Similarly tragic, in his view, is the food shortage in Rwanda, for example. Koch came to be known by his daring thesis: Cabbages in Westphalia are just as dangerous as the ascent of Mount Everest. However, his / her TV appearance on this station of a German enclave also seems to be dangerous, in an unspecified crisis...

Adapted from the 70s science fiction classic Logan’s Run, Enter Sandman asks questions about what description of self and society accomplish in our worldview. With what fictions do we narrate our reality? How must the world be organized, so that we can find a place in it? Is the accomplishment found in being patient or in rebellion against the system, and what makes us really happy? The given is cautiously scrutinized, the tried and tested is carefully checked for its efficiency.

A general life limitation of 21 years, on which this science fiction scenario is based, finally protects us from overpopulation and all the horrors associated with it. The rebellion against a totalitarian system sometimes provokes the realization that self-responsibility can also be a burden. Even the most delicate emotional approach to another person – even this is superfluous in Logan's Run, as there is the so-called love-space to maintain the emotional balance - leads boys and girls to emotional uncertainty. With such irritations, of course, we can be certain about who follows the great thinker who has arranged everything so pleasantly.

David Lindemann creates a network of references that provide us with a frighteningly clear focus even in their absurdity. And the three-dimensional phenomenon of Abe Lincoln is always being erased from the room, even though "Abe had written an address for us in Gettysburg, the place where people had fought for a future." The people have only their decision to act. Whether they want it or not.

Philoktetes on Lemnos, a Greek hero, fearfully hopes for the arrival of Odysseus. Lucy, a war correspondent, joyfully hopes for something sensational. Rainer, an ex-mountaineer, forcibly hopes to see a photo of the Yeti known as Chemo. Philoktetes’ wound, buried on the beach, passionately hopes to re-enter society. The hero's decision, however, is still pending. Sophocles or Miller? Hero or anti-hero? Heracles's bow, directed by Philoktetes, misses its goal. The arrow is in the journalist's neck, but there are no significant defects. A proof of love? Philoktetes is not sure; she indecently assaulted the tea of Odysseus. The isolation of the island brings people together, and so all the characters meet the beach. Odysseus emerges, once Philoktetes is long gone. The battle for Troy is past and the tea isn’t his affair. Old Odysseus has become senile. There is no more talk of fighting. Philoktetes? Who is this? The myth has a new variant.

"Deep in the realm of chemo, a glass of milky tea supplements the absence of the sacred center before the image of the Dalai Lama, a glass from which no one drinks. It is nothing but the presence of absence, a lack, a postponement, which washes the stranded again and again on the beach of Lemnos. Philoktetes can read about it, since it has already been written down, but the scriptures don’t come true. Instead, he is confronted with himself. The tragedy is this, is its own delay. The wound festers on the beach, the missing field-master hides behind the horizon, the center of gravity is in the inner abyss: Odysseus. " (David Lindemann)

The pirate ship Liberty has sailed so far under the command of DeBuins, who already appeared in David Lindemann’s Western trilogy, searching for a better understanding of the world around him. Part of the team is his sister Anne Providence, who has been kept on the MS Counterfeit for years to sew fine clothes for the black market. She was forced to do this by LeSchurk – the father of these unequal siblings and ice-cold leader of the establishment.

Unfortunately, the freedom introduced by the ambitious DeBuin to his own team, in the form of extra liberties such as shorter working hours, rum, and mixed sleeping quarters, is rejected. The new Captain from now on is Anne Providence herself, and she leaves her brother no choice. He must leave the ship. But DeBuin does not give up. With sharp words and prodigious arguments, he tries to end his sister's abuse of their hard-won freedom.

Matthias Habich embodies the establishment as well as its twin, the critical public, in the ZDF Christmas series "Jack Holborn". Just like the ships MS Counterfeit and the MS Copyright resemble each other like two eggs. It is also clear that Olivia de Havilland does not know whether she is wearing black market or original garments on the red carpet. Whether DeBuin can be freed from the establishment, and by whom—this we cannot yet reveal.

After her black Passat caused a fatal accident on the highway A3, Charlotte and daughter Lillith check in at the great campsite in the sky. The fact that, in recent times, heaven feels like a campground, is due to the fact that the campers have been given responsibility for the place. As a result, the interpersonal relations have an earthly feel to them. Camping neighbor Anne campaigns in a choir against the integration of criminals. The new arrivals find this initiative tasteless. In addition, Anne also prevents a heavenly family reunion: Lillith’s Papa is accused of being a criminal due to the accident.

"David Lindemann has succeeded in discussing highly complex political and theological questions within the setting of an Elysian refugee camp ... Pan Familia is not just the play of the hour, but a radio play whose questions continue to occupy us after the show." (media correspondence)

The sea level has risen, the North German Plain is flooded, and the high-tech Porta Dam is bracing itself against the masses of water. And just behind it - in a desert-like wasteland - Mr. and Mrs. Ehrlich have made their dream home come true. Loft, editor of an architectural magazine, is visiting to report on the extraordinary architecture and location of this property. Every now and then a deafening KLONG sounds. If the pressure on the dam becomes too great, an alarm sounds. There is also a basement at Ehrlichs, tiled by Kalk, the tiler. Floor, walls, ceilings, a throne in the middle - all tiled, one drain and no handle on the inside of the door. An officer of the State Criminal Office also drops by and wonders: what are the Ehrlichs up to? Why do they need the long thin butcher knife and why is there a picture on the wall of the Rider on the White Horse, that dike count who sacrificed himself for the dike. KLONG again the dike warns. Something must be done soon. It seems that this marvel of engineering can only be appeased with a human sacrifice. But who should that be? Mrs. Ehrlich or her visitor? And why did Loft never show up again after the secret visit to the cellar?

The Dam is a hilarious, black-humored climate disaster comedy that knows how to explore the boundaries between science-based vision and over-the-top nonsense in the most delicious way. And, of course, the whole thing is headed for a wonderfully spectacular showdown on the dam right from the start.

Damply, but happily, the Greek heroes in the saunas are celebrating their departure for Troy the next morning. Agamemnon, however, does not laugh. Don’t the perpetrators always become the victims of the sacrificed? Isn’t everyone controlled by external circumstances? Was there another way besides sacrificing one's own daughter? Agamemnon comes to an astonishing conclusion.

In times of glacier melt and atomic catastrophe, voices demand a new form of democratic decision-making power. With the World Wide Web as the basis. But if a man, a woman, and a baby were to survive catastrophe X, the question now arises as to whether the selection of their clothing in the sportswear shop was actually political enough?

September 17, 2001. There’s a solitary tent outside of New York City. In the tent, there’s secretary Mrs. Schmidt and her intern Max. The rain has been falling for days, incessantly. Their meeting didn’t take place; unfortunately, an assassination got in the way. But Mrs. Schmidt has high goals: she wants to get to the platform of the WTC. If only the rain would stop. And so they wait for the good weather, in a twisted tent in a confused world. Communication hacks, stifles, cramps, clogs and flows. The recognition of the horror is only on her periphery; she sees herself first and in the center. "Beware of the tiger, that's me!", Mrs. Schmidt hisses at two Asians. And after the WTC, we will bomb Disneyland, she announces, giggling. But nobody is interested in joking at a time like this. What is said takes its toll. Again and again.

"The people in David Lindemann's play speak formally to each other; and even if they didn’t they would hardly have a close relationship to each other. In his text, the dramatist holds the characters pointedly against the limelight, and lo and behold, a few well-disposed ancestors are slumbering within them. We find old stage comrades like Vladimir and Estragon, but also a considerable quantity of young contemporaries and street acquaintances. This creates a wonderful piece to play, which is in itself a sort of sequel: a sequel to the eleventh of September, a sequel to our great heroes, and at the same time, in an original and successful way - a game of words." (Theater heute)

In the footsteps of the volatile apache chief Ulzana, DeBuin desperately desired to understand Indian culture. After the massacre of Sanddreek in 1864, where DeBuin gave orders not to spare the Indian women and children, the officer without field experience became an advocate for human rights. The crime marked the transition to the civilized state

... It was really love at first sight when Liberty saw the lawyer for human rights get out of the carriage, as she kicked him and whipped him and tore apart his law books, with the passion of a deceived lover because she realized right away that she came second only to his first great passion, the Law... "The mystical reason for civilization" evokes the rebels of the civil wars of our time in the cradle of Western civilization. When did the Wild West really stop? Freely adapted from Ulzana's Raid, The Man who shot Liberty Valance, Soldier Blue, Chisum, The long ride to school u.a. (Announcement Volksbühne am Rosa-Luxemburg-Platz)

The Apache-Scout KenNiTay, converted by the West, is on the hunt for his former justice mentor DeBuin, together with the young Sergeant Linus. In the meantime, Debuin has switched sides and is living the life of the Indians once hunted by him. Linus wants him dead or alive, and KenNi-Tay is to help him. During the search, they face the ever-changing question of right and wrong action. A meeting of both sides has taken place, but once again it is impossible to reach agreement. Finally, DeBuin is found, either dead or alive. The great advocate of law has become an outlaw.

DEBUIN I thought you were leaving and we were going to ride a bit together. Sniff out the country, kill a little, burn, just like in the good old times. I am such an idiot for putting these ideas in your head about civilization and such. I did not know you were that easy to influence.

"When I saw Ulzana's Raid by Robert Aldrich for the first time, I only knew Winnetou. What I do not understand is how a pro-Indian film, according to its self-understanding, could portray the Indians so cruelly. So cruelly that a young soldier jammed the barrel of his revolver into his own mouth to escape the torture of the Indians, after killing the white woman in his protection with a targeted shot to the forehead. What is missing here is tolerance of ambiguity. The ability to withstand unstructured situations. The trilogy has something to do with this ambiguity. "(David Lindemann)

The actor Speedy now knows he was making a big mistake when he raced, omnipotent, through all those road movies with his muscle car. Incitement to uninhibited gasoline consumption, reads the accusation decades later. His children are taken from him as punishment. He only receives them again when he can show evidence of responsibility. Speedy gives it his all. When he realizes that his children are now being raised by a cloned Speedy named Sleepy, Death Valley becomes the setting for a dramatic showdown.

Suddenly, their car stops. The tank is empty. The area foreign. Marie, Martin and André meet Albert, a gloomy old man. They know nothing good can happen when he takes them home with them. His daughter, Johanna, does not emerge from the kitchen. And Marie comes back from the bathroom and is completely changed. André is lured by Albert to the attic, and Martin is said to have hurled the cat head first against the wall. What is happening to the foreigners in this foreign country?

This Stammheim Special in the trilogy The mystical reason of civilization, which examines the archetypes of the genre "Western" as well as the genesis of the civil legal state, shows us a Pat Garrett who is now working as a civil servant. After his self betrayal, Garrett, whose portrait still adorns the sheriff's star in Lincoln County, has to get rid of his former friend, the young revolver hero Billy the Kid, to assure himself of the legality of his existence. How close are Milosevic and Geronimo to each other, how close are the massacre of Sand Creek in 1864 and Abu Ghraib, Pat Garrett and Otto Schily? According to this Stammheim Special, the law is always based on an act of violence, a decision which must not be slipped into, but must be made. To speak of the right of the stronger is not enough. Right is not conceivable without violence, and the unstable basis of law is mystical ... Lindemann examines the mythos of the RAF and, with the help of elements of the "Western," the interplay of law and violence: in a fictional cell, the author gathers four women, guarded by a male "legal body". Playfully, they digest questions about rebellion, resistance and rules. (Announcement theater rampe stuttgart)

"The proximity of the author and director to René Pollesch is unmistakable. Like the latter, he works in an adjoining room of the Volksbühne at Rosa-Luxemburg-Platz in Berlin. What we had predicted, that Pollesch would find his imitators, has already proved true in Lindemann. Fortunately, the fear that the results of such imitation would be terrible has proven to be false ... When Sheriff Pat Garrett looks out the window, he sees a flourishing future. Billy the Kid is shot in the end. is a difficult but successful play. "(Culture)