Dies Irae – Tag des Zorns

Alexander Kerlin & Kay Voges & Paul Wallfisch &
Eine Endzeit-Oper
21. Dec, Sat
Zyklus nach der Premiere / B! / Ab 18 / Einführung
Live-Sampling/Sound-Design Alexander Nefzger , ,
Colour Grading Simon Graf , ,
Videoschnitt Manuel Bader , ,
Regie Kay Voges , ,
Ton Raimund Hornich , ,
Komposition Paul Wallfisch , ,
Videotechnik Florian Dolzer , ,
Bühne Daniel Roskamp , ,
Kostüme Mona Ulrich , ,
Director of Photography Voxi Bärenklau , ,
Video-Art Robi Voigt , ,
Dramaturgie Alexander Kerlin , ,
Dramaturgiemitarbeit Rita Czapka , ,
Live-Musik Paul Wallfisch , , Live-Musik Larry Mullins alias Toby Dammit , , Live-Musik Simon Goff , ,
Live-Kamera Max Hammel , , Live-Kamera Georg Vogler , , Live-Kamera Marvin Kanas , ,
Gesang Kaoko Amano , ,
Nikita Dendl , , Philipp Dornauer , , Gérôme Ehrler , , Yana Ermilova , , Hannah Rahel Rang , , Runa Schymanski , ,
Liebespaar H.G.G. , , Liebespaar D.A.K. , , Liebespaar B.E. , , Liebespaar J.B. , ,
120 minutes no breaks
Dies Irae - Tag des Zorns

How often has it been near, the Day of Reckoning. How often have we heard that knock on our door: humanity’s final hour. “The end has come. Behold, it comes,” says the desert prophet Ezekiel, like countless prophets before and after him.

The end of days is one of the oldest tales ever. And yet, the end has never actually come. The prophets were always false ones. And although the story of the imminent end of days has detached itself from its religious roots in our modern age, it lives on in numerous variants: Downfall through technology? Overpopulation? Liberalism? Europe? Nuclear power? Climate change? And so, in full view of the impending end, we find ourselves permanently suspended in the moment before it.

We yearn for and fear it in equal measure. In DIES IRAE, spoken theatre meets music theatre suspended up in the air. What would music sound like whose end keeps coming closer and closer, yet doesn’t come and doesn’t come? New York musician Paul Wallfisch  (Swans, among other projects) has set the endlessly repeating pre­doomsday loop to music, letting bold rock sounds collide with refined electronics.

The director of this production is the award-winning play and opera director and designated artistic director of the Volkstheater, Kay Voges.

21. Dec, Sat
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