Bermuda

F. Wiesel approaches the Bermuda Triangle: vessel of all lost objects of the past, present time and future. They work in the reservoir of the disappeared. Printing, constructing, building models of ships and groups of islands. Resulting in a diorama of a place that stands at the end of all theories. The Bermuda Triangle: point where reporting stops, maps end and myth begins. BERMUDA becomes the catalyst of a hysterical concept of truth. At the center of power, the reptilian creature finds itself and spreads its hypermap. Everything becomes plausible.

BERMUDA deals with current truth formation. Dealing with information increasingly demands competencies and own analyses. Fake news and manipulated networks transmit a never-ending stream of apparent truths and connections. Through all filters, the fact itself has lost its legitimacy. What is not fake with certainty? Wouldn't it be more helpful if there were a point holding the chaos together? Scientific knowledge is joined by mythological constructs: Conspiracy theories sometimes seem more legitimate than global warming.

What I did:

Designing the 10 channel speaker setup
Designing soundscapes and sound effects
Miking all sounds and movements on stage, as well as amplifying the performer

27.-29.04.2019 Künstler:innenhaus Mousonturm, Frankfurt 
12.-13.09.2019 Theater Roxy, Basel/Birsfelden
Konzept & Umsetzung: Jost von Harleßem, Hanke Wilsmann 
Performance: Stephan Dorn
 Sound Design: Rupert Jaud 
Künstlerische Mitarbeit Bühne:  Ute Freitag, Friederike Schmidt-Colinet
 Künstlerische Mitarbeit Figurenspiel: Caroline Kühner 
Kostüm: Sandra Li Maennel 
Kostümassistenz: Ardesia Calderan, Lea Sommer
Produktion: Heidrun Schlegel
A production by F. Wiesel in co-production with Künstlerhaus Mousonturm Frankfurt and Roxy Birsfelden. Supported by the Jürgen Ponto Stiftung zur Förderung junger Künstler, Fonds Darstellende Künste, Kulturamt der Stadt Frankfurt, Rudolf-Augstein-Stiftung, Hamburgische Kulturstiftung, Kulturbehörde Hamburg and in cooperation with the Hessische Theaterakademie.

About the sound design

The play is divided into two parallel narrative levels: The lecture level, in which Stefan Dorn talks about the Bermuda Triangle and the human desire to create myths in a playful way, should be clearly distinguished from the level of the reptilian creature. A creature that lives at the bottom of the Bermuda Triangle and stores the events of maritime disasters in a database.

While the performer was only slightly supported in his speech intelligibility by the microphones, the stage was immersed in underwater sea noise when the reptilian creature appeared. All actions, movements and interactions with the stage apparatus were miked or sampled. The resulting Foley level and sound effects gave the reptile a cinematic exaggeration and made it fit into the atmospherically dense sound world of the scene.

Bunkern

Etwas Bewegendes