Münchener Biennale 2018

June 2 – 12, 2018 Festival of new music theater

With world premieres by, among others, Ondřej Adámek, Saskia Bladt, Franco Bridarolli, Wilmer Chan, Kaj Duncan David,  Ruedi Häusermann, Miika Hyytiäinen, Clara Iannotta, Yasutaki Inamori, Nicolas Kuhn, Lam Lai, Frederik Neyrinck, Marek Poliks, Stefan Prins, Trond Reinholdtsen and Eleftherios Veniadis.

Performance locations: Muffathalle, Reaktorhalle, Carl-Orff-Saal (Gasteig Cultural Center), Marstall (Residenztheater), Villa Stuck, private apartements in Munich, public spaces, Schwere Reiter, Villa Waldberta at Lake Starnberger, studio apartements and whiteBOX München.

The complete program will be published in February 2018.

Whoever utters the sentence, "that's my private matter!" has an unmistakable concern. And whoever does this with an exclamation mark precludes any inquiries regarding subjects that are not meant for the general public. And yet it seems as if more and more rarely does one hear the call to protect private matters. For it is well-known that for over a decade large segments of the global community have almost intoxicatingly succumbed to the countless possibilities for dissolving what is considered to be private. Even more: they are doing it and it is irrevocable. For the systems to which intimate matters are entrusted eternalize the published information, save and preserve images, statements, and payment and health data far beyond a person's lifetime. In other words, the meanings of the expression "private matter" have shifted extensively. And it appears to be a little obvious that at exactly this moment the methods of artistic expression specializing in abstraction and sensualisation have been assigned an important role in the interpretation of these potent changes.

And as music theater in particular possesses unique possibilities with the interaction between sound, voice, body, image, and language to relate the simultaneous and excessive demands of a present driven by media, Manos Tsangaris and Daniel Ott are conceiving the coming Biennale as a musical-dramatic space for researching PRIVATE MATTERS.


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