Bitef

Niblingom na predstavi Volpone u pozorištu Šaušpil Bohum i na predstavi Carmen Disruption u Šaušpil Hamburg. Iber je, zajedno s Bernhardom Mikeska (mikeska: plus:blendwerk), autor serije pozorišnih instalacija u pozorištu Šaušpil Frankfurt, kakve su Rašomon: istina je pored nas, Manjenbad, uskoro, kao i Volim te, Voiim te i Stvaranje Meriiin. Godine 2009, grad Cirih je Iberov rad nagradio s tromesečnim studijskim boravkom u Njujorku. Dominik Iber stalni je predavač na ZHdK - Univerzitetu umetnosti u Cirihu.

IZVODI IZ KRITIKA

„Razmišljate li ikad o sopstvenoj smrti? Dali razmišljate o tome na koji način biste se iskrali, i kakav biste trag voleli da za vama ostane? Čak i ako to ne činite, ta pitanja će vam se vrteti po glavi kad odgledate predstavu Zaostavština, delo snažnog senzibiliteta. Projekat je kreirao Štefan Kegi, stručnjak za „pozorište stvarnosti", zajedno sa Dominikom Iberom i Rimini protokolom. Zajedničkim snagama, oni nam predstavljaju glasove devetoro ljudi, i starih i mladih, koji su, svako iz svog razloga, omogudli da njihova smrt bude predmet istraživanja. Taj put u carstvo smrti nije razdragan, ali nije ni zlokoban i tmuran. To je poziv da razmislimo o svom zagrobnom životu." Mari-Pjer Ženekan, Le temps

such diverse works as: Airport Kids, Heuschrecken, and Familienbande and with Sebastian Nubling, most recently for Volpone at the Schauspielhaus Bochum and Carmen Disruption at the Schauspielhaus Hamburg. Huber designed a series of theater installation projects together with Bernhard Mikeska (mikeska: plus: blendwerk) like Rashomon: Truth Lies Next Door, Marienbad, coming soon and at the Schauspiel Frankfurt Je t’aime, Je t’aime and Making Of, Marilyn. In 2009 the City of Zurich rewarded Huber’s work with a 3-months residency in NYC. Dominic Huber regularly teaches at ZHdK - the Arts University of Zurich.

FROM THE REVIEWS

“Do you ever think about your death? Do you think about how you would like to steal away, and what kind of trace you would like to leave behind? If that is not the case, this theme will nevertheless be playing on your mind after having seen Nachlass, a work of great sensitivity. The project is helmed by Stefan Kaegi, a specialist of the “theatre of the real”, accompanied by Dominique Huber and Rimini Protokoll. Together, they offer up the words of nine people, old and young alike, who for various reasons have opened up their deaths to scrutiny. Without being flippant, this journey into Deathland is neither sinister nor gloomy, it is in invitation for us to reflect on our afterlife.” Marie-Pierre Genecand, Le Temps

“With Nachlass, Stefan Kaegi and his team have gone far beyond the simple document, the raw testimony which we sometimes see in the fine arts. He provides each of the nine people who confided in him with their own mini-theatre. They have chosen the sets themselves, and are limited in their speaking time, with the possibility of addressing the audience directly. One of them, who has offered us a drink of water, asks us not to forget to throw the cup in the bin as we are leaving, it is moving, very unsettling, but not sad. Bracing rather; and at times, almost joyous.” Mireilie Descombers, L’Hebdo

“Sharing these last moments transmitted only through voices, the audience provide a sympathetic ear for their wishes and choices. Gone are the gadgets of Rimini Protokoll’s previous performances: we are here at

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