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Peter Breitenbach | Sound Artist
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Immersive sound works — installations, performances, sound dramaturgy, and sound design.
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| Eigenschaft | Inhalt |
|---|---|
| locale | en_US |
| title | Peter Breitenbach | Sound Artist |
| description | Immersive sound works — installations, performances, sound dramaturgy, and sound design. |
| url | https://peterbreitenbach.de |
| image | https://freight.cargo.site/i/fd5e72598e682c4251672fd48e5a74fb84d2b12436b379e4d43f739f6004dbf3/social.jpg |
| type | website |
Überschriften
| H1 | H2 | H3 | H4 | H5 | H6 |
| 0 | 5 | 0 | 1 | 0 | 0 |
- [H2] EVER GIVENA tipping-point revue\n\n\nby Helgard Haug with music from Barbara Morgenstern & \nThe Sea Beats (Barbara Morgenstern, Daniel Eichholz, Adham Elsaid, Peter Breitenbach)\nTheatre | Sound Design on Stage\n\n\nAbout\n \nEVER GIVEN is focusing on collapse. What if a person, an organism, an entire system can no longer continue as before? What if everything that previously seemed self-evident is suddenly disrupted? What happens during a standstill? The protagonists on stage are people who have experienced or sought a radical rupture - were confronted with a message, a stroke of fate, a diagnosis. With a nothing-goes-anymore!\nAnd yet the wheel keeps turning and turning: The narrative structure of EVER GIVEN is an experiment: This revue is not told with a clear beginning and end, but in a circular way. It is not a line - it is a circle. After a prologue, the piece threads itself into this \u2018loop\u2019 and returns to the beginning. The next evening threads itself into the following scene. The following evening into the one that comes after. We simply get on board. Into the merry-go-round. Each evening is threaded anew - at a different point. All sequences must be designed in such a way that they can be repeated in themselves. Everything goes round in circles and after the end it just goes on?\n\nWhat does it sound like when the world gets out of rhythm, what if the rhythm escalates and loops until the music piles up into a wall of sound and tips over into a new situation. [SOURCE]\n\n\n\n\n \n\n \n \n \nWith: Hana Hazem Arabi, Adham El Said, Michaela Groch-Fischer, LED and Marianne VlaschitsConcept, text, direction: Helgard Haug\nComposition: Barbara Morgenstern\nLive music: Barbara Morgenstern, Daniel Eichholz\nLive electronics: Peter Breitenbach\nStage design and Costume: Evi Bauer\nVideo art and Lighting design: Marc Jungreithmeier\nDramaturgy: Maria N\u00fcbling, Henning Nass\nResearch: Maria N\u00fcblingAssistant director: Birgit Allesch\nAssistant stage designer: Laura Schroeder\nAssistant costume designer: Olivia Lottersberger\nArtistic assistance: Lisa HomburgerIntership: Jule Bischoff, No\u00e9mi Juniki, Oriana Mucha, G\u00fcde Nissen\nProduction management: Mait\u00e9n Arns, Eva Luzia Preindl\nTouring management: Chlo\u00e9 Ferro\nTechnical director Rimini Protokoll: Patrick TucholskiContainer ship video-footage: Christoph Schwarz(\u201eSupercargo\u201c www.christophschwarz.net\/supercargo)\nThe Sea Beats: Barbara Morgenstern, Daniel Eichholz, Adham Elsaid, Peter Breitenbach\nA production of Volkstheater Wien and Rimini Apparat in co-production with HAU Hebbel am Ufer and Theater Magdeburg.Supported by the German Federal Cultural Foundation. Funded by the Federal Government Commissioner for Culture and the Media.\n \n \n \n\n\n\nThe Sea Beats\n\n\n \n The Sea Beats von The Sea Beats\n\u00a0\n\nRecording: Alex Paulick\nMix: Barbara Morgenstern\nMastering: Ingo Krauss\n\n \n\n \n \n \nWith: Hana Hazem Arabi, Adham El Said, Michaela Groch-Fischer, LED and Marianne VlaschitsConcept, text, direction: Helgard Haug\nComposition: Barbara Morgenstern\nLive music: Barbara Morgenstern, Daniel Eichholz\nLive electronics: Peter Breitenbach\nStage design and Costume: Evi Bauer\nVideo art and Lighting design: Marc Jungreithmeier\nDramaturgy: Maria N\u00fcbling, Henning Nass\nResearch: Maria N\u00fcblingAssistant director: Birgit Allesch\nAssistant stage designer: Laura Schroeder\nAssistant costume designer: Olivia Lottersberger\nArtistic assistance: Lisa HomburgerIntership: Jule Bischoff, No\u00e9mi Juniki, Oriana Mucha, G\u00fcde Nissen\nProduction management: Mait\u00e9n Arns, Eva Luzia Preindl\nTouring management: Chlo\u00e9 Ferro\nTechnical director Rimini Protokoll: Patrick TucholskiContainer ship video-footage: Christoph Schwarz(\u201eSupercargo\u201c www.christophschwarz.net\/supercargo)\nThe Sea Beats: Barbara Morgenstern, Daniel Eichholz, Adham Elsaid, Peter Breitenbach\nA production of Volkstheater Wien and Rimini Apparat in co-production with HAU Hebbel am Ufer and Theater Magdeburg.Supported by the German Federal Cultural Foundation. Funded by the Federal Government Commissioner for Culture and the Media.\nCo-co-co-co-collapsby Helgard Haug with music from Barbara Morgenstern & The Sea Beats\nis a radio play based on the theater production EVER GIVENListen@\n\n\n\n \n\n \n \n \nWith: Hana Hazem ArabiAdham ElsaidBettina GrahsHao Yang SunMarianne Vlaschits Drums: Daniel EichholzVocals: Adham ElsaidKeyboard and vocals: Barbara Morgenstern Sound design: Peter BreitenbachRecording: Michael KubeMusic recording: Alex PaulickTechnical realization: Sebastian Nohl and Peter Hamacher Idea, text, direction: Helgard HaugDramaturgy: Christina H\u00e4nselA production of Westdeutscher Rundfunk 2025 First broadcast: November 8, 2025Length: 53:30 Many thanks to the Volkstheater Wien, the HAU Hebbel am Ufer, the Theater Magdeburg, and the Kulturstiftung des Bundes, which made the play EVER GIVEN possible, from whose material the radio play was developed.\n \n \n \n\n\n\nEVER GIVEN Performances \nVienna, Volkstheater13. \u2013 14.12.202425. \u2013 26.01.202501. \u2013 03.03.2025Berlin, HAU Hebbel am Ufer08. \u2013 10.03.2025\n","content_no_html":"EVER GIVENA tipping-point revue\n\n\nby Helgard Haug with music from Barbara Morgenstern & \nThe Sea Beats (Barbara Morgenstern, Daniel Eichholz, Adham Elsaid, Peter Breitenbach)\nTheatre | Sound Design on Stage\n\n\nAbout\n \nEVER GIVEN is focusing on collapse. What if a person, an organism, an entire system can no longer continue as before? What if everything that previously seemed self-evident is suddenly disrupted? What happens during a standstill? The protagonists on stage are people who have experienced or sought a radical rupture - were confronted with a message, a stroke of fate, a diagnosis. With a nothing-goes-anymore!\nAnd yet the wheel keeps turning and turning: The narrative structure of EVER GIVEN is an experiment: This revue is not told with a clear beginning and end, but in a circular way. It is not a line - it is a circle. After a prologue, the piece threads itself into this \u2018loop\u2019 and returns to the beginning. The next evening threads itself into the following scene. The following evening into the one that comes after. We simply get on board. Into the merry-go-round. Each evening is threaded anew - at a different point. All sequences must be designed in such a way that they can be repeated in themselves. Everything goes round in circles and after the end it just goes on?\n\nWhat does it sound like when the world gets out of rhythm, what if the rhythm escalates and loops until the music piles up into a wall of sound and tips over into a new situation. [SOURCE]\n\n\n{image 2}\n\n \n\n \n \n \nWith: Hana Hazem Arabi, Adham El Said, Michaela Groch-Fischer, LED and Marianne VlaschitsConcept, text, direction: Helgard Haug\nComposition: Barbara Morgenstern\nLive music: Barbara Morgenstern, Daniel Eichholz\nLive electronics: Peter Breitenbach\nStage design and Costume: Evi Bauer\nVideo art and Lighting design: Marc Jungreithmeier\nDramaturgy: Maria N\u00fcbling, Henning Nass\nResearch: Maria N\u00fcblingAssistant director: Birgit Allesch\nAssistant stage designer: Laura Schroeder\nAssistant costume designer: Olivia Lottersberger\nArtistic assistance: Lisa HomburgerIntership: Jule Bischoff, No\u00e9mi Juniki, Oriana Mucha, G\u00fcde Nissen\nProduction management: Mait\u00e9n Arns, Eva Luzia Preindl\nTouring management: Chlo\u00e9 Ferro\nTechnical director Rimini Protokoll: Patrick TucholskiContainer ship video-footage: Christoph Schwarz(\u201eSupercargo\u201c www.christophschwarz.net\/supercargo)\nThe Sea Beats: Barbara Morgenstern, Daniel Eichholz, Adham Elsaid, Peter Breitenbach\nA production of Volkstheater Wien and Rimini Apparat in co-production with HAU Hebbel am Ufer and Theater Magdeburg.Supported by the German Federal Cultural Foundation. Funded by the Federal Government Commissioner for Culture and the Media.\n \n \n \n\n\n\nThe Sea Beats\n\n\n \n The Sea Beats von The Sea Beats\n\u00a0\n\nRecording: Alex Paulick\nMix: Barbara Morgenstern\nMastering: Ingo Krauss\n\n \n\n \n \n \nWith: Hana Hazem Arabi, Adham El Said, Michaela Groch-Fischer, LED and Marianne VlaschitsConcept, text, direction: Helgard Haug\nComposition: Barbara Morgenstern\nLive music: Barbara Morgenstern, Daniel Eichholz\nLive electronics: Peter Breitenbach\nStage design and Costume: Evi Bauer\nVideo art and Lighting design: Marc Jungreithmeier\nDramaturgy: Maria N\u00fcbling, Henning Nass\nResearch: Maria N\u00fcblingAssistant director: Birgit Allesch\nAssistant stage designer: Laura Schroeder\nAssistant costume designer: Olivia Lottersberger\nArtistic assistance: Lisa HomburgerIntership: Jule Bischoff, No\u00e9mi Juniki, Oriana Mucha, G\u00fcde Nissen\nProduction management: Mait\u00e9n Arns, Eva Luzia Preindl\nTouring management: Chlo\u00e9 Ferro\nTechnical director Rimini Protokoll: Patrick TucholskiContainer ship video-footage: Christoph Schwarz(\u201eSupercargo\u201c www.christophschwarz.net\/supercargo)\nThe Sea Beats: Barbara Morgenstern, Daniel Eichholz, Adham Elsaid, Peter Breitenbach\nA production of Volkstheater Wien and Rimini Apparat in co-production with HAU Hebbel am Ufer and Theater Magdeburg.Supported by the German Federal Cultural Foundation. Funded by the Federal Government Commissioner for Culture and the Media.\nCo-co-co-co-collapsby Helgard Haug with music from Barbara Morgenstern & The Sea Beats\nis a radio play based on the theater production EVER GIVENListen@\n\n{image 4 scale=\"52\"}\n\n \n\n \n \n \nWith: Hana Hazem ArabiAdham ElsaidBettina GrahsHao Yang SunMarianne Vlaschits Drums: Daniel EichholzVocals: Adham ElsaidKeyboard and vocals: Barbara Morgenstern Sound design: Peter BreitenbachRecording: Michael KubeMusic recording: Alex PaulickTechnical realization: Sebastian Nohl and Peter Hamacher Idea, text, direction: Helgard HaugDramaturgy: Christina H\u00e4nselA production of Westdeutscher Rundfunk 2025 First broadcast: November 8, 2025Length: 53:30 Many thanks to the Volkstheater Wien, the HAU Hebbel am Ufer, the Theater Magdeburg, and the Kulturstiftung des Bundes, which made the play EVER GIVEN possible, from whose material the radio play was developed.\n \n \n \n\n\n\nEVER GIVEN Performances \nVienna, Volkstheater13. \u2013 14.12.202425. \u2013 26.01.202501. \u2013 03.03.2025Berlin, HAU Hebbel am Ufer08. \u2013 10.03.2025\n","content_partial_html":"EVER GIVENA tipping-point revue\n\n\nby Helgard Haug with music from Barbara Morgenstern & \nThe Sea Beats (Barbara Morgenstern, Daniel Eichholz, Adham Elsaid, Peter Breitenbach)\nTheatre | Sound Design on Stage\n\n\nAbout\n \nEVER GIVEN is focusing on collapse. What if a person, an organism, an entire system can no longer continue as before? What if everything that previously seemed self-evident is suddenly disrupted? What happens during a standstill? The protagonists on stage are people who have experienced or sought a radical rupture - were confronted with a message, a stroke of fate, a diagnosis. With a nothing-goes-anymore!\nAnd yet the wheel keeps turning and turning: The narrative structure of EVER GIVEN is an experiment: This revue is not told with a clear beginning and end, but in a circular way. It is not a line - it is a circle. After a prologue, the piece threads itself into this \u2018loop\u2019 and returns to the beginning. The next evening threads itself into the following scene. The following evening into the one that comes after. We simply get on board. Into the merry-go-round. Each evening is threaded anew - at a different point. All sequences must be designed in such a way that they can be repeated in themselves. Everything goes round in circles and after the end it just goes on?\n\nWhat does it sound like when the world gets out of rhythm, what if the rhythm escalates and loops until the music piles up into a wall of sound and tips over into a new situation. [SOURCE]\n\n\n\n\n \n\n \n \n \nWith: Hana Hazem Arabi, Adham El Said, Michaela Groch-Fischer, LED and Marianne VlaschitsConcept, text, direction: Helgard Haug\nComposition: Barbara Morgenstern\nLive music: Barbara Morgenstern, Daniel Eichholz\nLive electronics: Peter Breitenbach\nStage design and Costume: Evi Bauer\nVideo art and Lighting design: Marc Jungreithmeier\nDramaturgy: Maria N\u00fcbling, Henning Nass\nResearch: Maria N\u00fcblingAssistant director: Birgit Allesch\nAssistant stage designer: Laura Schroeder\nAssistant costume designer: Olivia Lottersberger\nArtistic assistance: Lisa HomburgerIntership: Jule Bischoff, No\u00e9mi Juniki, Oriana Mucha, G\u00fcde Nissen\nProduction management: Mait\u00e9n Arns, Eva Luzia Preindl\nTouring management: Chlo\u00e9 Ferro\nTechnical director Rimini Protokoll: Patrick TucholskiContainer ship video-footage: Christoph Schwarz(\u201eSupercargo\u201c www.christophschwarz.net\/supercargo)\nThe Sea Beats: Barbara Morgenstern, Daniel Eichholz, Adham Elsaid, Peter Breitenbach\nA production of Volkstheater Wien and Rimini Apparat in co-production with HAU Hebbel am Ufer and Theater Magdeburg.Supported by the German Federal Cultural Foundation. Funded by the Federal Government Commissioner for Culture and the Media.\n \n \n \n\n\n\nThe Sea Beats\n\n\n \n The Sea Beats von The Sea Beats\n\u00a0\n\nRecording: Alex Paulick\nMix: Barbara Morgenstern\nMastering: Ingo Krauss\n\n \n\n \n \n \nWith: Hana Hazem Arabi, Adham El Said, Michaela Groch-Fischer, LED and Marianne VlaschitsConcept, text, direction: Helgard Haug\nComposition: Barbara Morgenstern\nLive music: Barbara Morgenstern, Daniel Eichholz\nLive electronics: Peter Breitenbach\nStage design and Costume: Evi Bauer\nVideo art and Lighting design: Marc Jungreithmeier\nDramaturgy: Maria N\u00fcbling, Henning Nass\nResearch: Maria N\u00fcblingAssistant director: Birgit Allesch\nAssistant stage designer: Laura Schroeder\nAssistant costume designer: Olivia Lottersberger\nArtistic assistance: Lisa HomburgerIntership: Jule Bischoff, No\u00e9mi Juniki, Oriana Mucha, G\u00fcde Nissen\nProduction management: Mait\u00e9n Arns, Eva Luzia Preindl\nTouring management: Chlo\u00e9 Ferro\nTechnical director Rimini Protokoll: Patrick TucholskiContainer ship video-footage: Christoph Schwarz(\u201eSupercargo\u201c www.christophschwarz.net\/supercargo)\nThe Sea Beats: Barbara Morgenstern, Daniel Eichholz, Adham Elsaid, Peter Breitenbach\nA production of Volkstheater Wien and Rimini Apparat in co-production with HAU Hebbel am Ufer and Theater Magdeburg.Supported by the German Federal Cultural Foundation. Funded by the Federal Government Commissioner for Culture and the Media.\nCo-co-co-co-collapsby Helgard Haug with music from Barbara Morgenstern & The Sea Beats\nis a radio play based on the theater production EVER GIVENListen@\n\n\n\n \n\n \n \n \nWith: Hana Hazem ArabiAdham ElsaidBettina GrahsHao Yang SunMarianne Vlaschits Drums: Daniel EichholzVocals: Adham ElsaidKeyboard and vocals: Barbara Morgenstern Sound design: Peter BreitenbachRecording: Michael KubeMusic recording: Alex PaulickTechnical realization: Sebastian Nohl and Peter Hamacher Idea, text, direction: Helgard HaugDramaturgy: Christina H\u00e4nselA production of Westdeutscher Rundfunk 2025 First broadcast: November 8, 2025Length: 53:30 Many thanks to the Volkstheater Wien, the HAU Hebbel am Ufer, the Theater Magdeburg, and the Kulturstiftung des Bundes, which made the play EVER GIVEN possible, from whose material the radio play was developed.\n \n \n \n\n\n\nEVER GIVEN Performances \nVienna, Volkstheater13. \u2013 14.12.202425. \u2013 26.01.202501. \u2013 03.03.2025Berlin, HAU Hebbel am Ufer08. \u2013 10.03.2025\n","thumb":"240503705","thumb_meta":{"thumbnail_crop":{"percentWidth":"100","marginLeft":0,"marginTop":0,"imageModel":{"id":240503705,"project_id":37699697,"image_ref":"{image 1}","name":"IMG_3580.jpg","hash":"101181df0c0b8fda55ff0c6d7cdba2815ec2833d8cfc78e0f737cca3cedd0b2f","width":3024,"height":4032,"sort":0,"exclude_from_backdrop":false,"date_added":"1762869327"},"stored":{"ratio":133.33333333333,"crop_ratio":"16x9"},"cropManuallySet":false}},"thumb_is_visible":true,"sort":10,"index":0,"set_id":6142651,"page_options":{"using_local_css":true,"local_css":"[local-style=\"37699697\"] .container_width {\n}\n\n[local-style=\"37699697\"] body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\n[local-style=\"37699697\"] .backdrop {\n\twidth: calc(100% - 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Good Night.","title_no_html":"All Right. Good Night.","tags":"","display":true,"pin":false,"pin_options":null,"in_nav":false,"is_homepage":false,"backdrop_enabled":true,"is_set":false,"stack":false,"excerpt":"All Right. Good Night.A play about disappearance and loss\n\n\n\n\n\nby Rimini Protokoll (Haug)\n\nTheatre\u00a0| Sound Design\n\n\n\n\n\nInvited to\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nand nominated for...","content":"All Right. Good Night.A play about disappearance and loss\n\n\nby Rimini Protokoll (Haug)\nTheatre | Sound Design\n\n\nInvited to\n\n\n\n\n\n\n\n\n\nand nominated for Friedrich-Luft-Preise 2022 \n\n\nAbout\n\n\u201cIn 'All right. Good night.' Helgard Haug traces the disappearance, the search and the struggle with uncertainty - using the example of the missing airplane and the manifesting dementia of her own father. It is the protocol of an irreversible process. Music is the artistic medium with the greatest tradition in making the disappeared tangible. Be it through a requiem in memory of the deceased or through a choir, which already in ancient theatre appeared as a witnessing chronicler and reported on hardly imaginable battles and divine fortune.\u201d [Source]\n\nPress\n\nStatement by the Theatertreffen jury: The play is \u00bbsadly beautiful, highly concentrated mental theater dedicated to one of life\u2019s big questions: disappearance and thus death.\u00ab\n\n\n \n \n \nConcept, text, direction: Helgard Haug\n \n \n \n \t\n \n Composition: Barbara Morgenstern\n \n Orchestra: Zafraan Ensemble\n \n Hands: Johannes Benecke, Mia Rainprechter\n \n Speaker: Emma Becker, Evi Filippou, Margot G\u00f6dr\u00f6s, Ruth Reinecke, Mia Rainprechter, Louise St\u00f6ltingStage: Evi BauerVideo\/Light design: Marc JungreithmeierSound design: Peter BreitenbachConductor: Premil Petrovi\u0107Arranger: Davor Branimir VinczeDramaturgy: Juliane M\u00e4nnel Outside Eye: Aljoscha BegrichTechnichal direction: Andreas MihanResearch \/ Assistant director: Lisa HomburgerCostumes and Assistant stage designer: Christine RuynatSound Design Assistant: Rozenn Li\u00e8vreAssistant Technical direction: David ScholzProduction management: Louise St\u00f6ltingZafraan Ensemble musicians stage:Matthias Badczong (clarinet), Evi Filippou (percussion), Josa Gerhard (violin), Martin Posegga (saxophone), Beltane Ruiz (double bass)Zafraan Ensemble musicians recording:Josa Gerhard (violin), Noa Niv (trombone), Matthias Badczong (clarinet), Liam Mallet (flute), Martin Posegga (saxophone), Damir Bacikin (trumpet), Anna Viechtl (harp), Adam Weisman (drums), Yumi Onda (violin), Benedikt Bindewald (viola recording), Maria Reich (viola), Alice Dixon (cello), Natalie Pl\u00f6ger (double bass), Florian Juncker (trombone)In this excellent work, Helgard Haug has tuned into slow evanescence over a period of eight years. It gives the bereaved of the ill-fated flight \u2013 who have to live one day at a time without answers, to live without a body, without a burial \u2013 a chance to speak. And it tells of an existentially fraught disease with no chance of healing. What is the self? What does dignity mean? In his last email to the director, her father wrote, \u201cPlease stay in touch with me. Try to understand. And where possible, to forgive.\u201d - Tagesspiegel\n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n\n\n\n\n\n\nPhotos by Merlin Nadj-Torma\n\n\nPerformances:\n\nBerlin, HAU Hebbel am Ufer 16. \u2013 21.12.2021\nVienna, Volkstheater 30. \u2013 31.03.2022\nM\u00fclheim, 47. M\u00fclheimer Theatertage 19.05.2022\nEssen, PACT Zollverein, eine Kooperationsveranstaltung von IMPULSE Theater Festival und PACT Zollverein. 14. \u2013 15.06.2022\nFrankfurt\/Main, K\u00fcnstlerhaus Mousonturm 21. \u2013 23.09.2022\nLudwigshafen, Festspiele Ludwigshafen 06. \u2013 07.12.2022\nChur, Theater Chur 09.02.2023\nHannover, Kunstfestspiele Herrenhausen 26. \u2013 27.05.2023\nManchester, MIF 06. \u2013 08.07.2023Zurich, Z\u00fcrcher Theaterspektakel 27. \u2013 29.08.2023\n\nSantiago de Chile, Santiago a Mil 11. \u2013 13.01.2024\nBerlin, HAU Hebbel am Ufer 08. \u2013 11.02.2024Taichung, National Taichung Theater 24. \u2013 26.05.2024Strasbourg, Maillon, Th\u00e9\u00e2tre de Strasbourg \u2013 Sc\u00e8ne europ\u00e9enne 27. \u2013 28.09.2024New York City, Skirball NYU 25. \u2013 27.09.2025Baden, Kurtheater 06.12.2025\n\n","content_no_html":"All Right. Good Night.A play about disappearance and loss\n\n\nby Rimini Protokoll (Haug)\nTheatre | Sound Design\n\n\nInvited to\n\n\n\n{image 9}\n{image 10}\n{image 6}\n{image 11}\n\n\nand nominated for Friedrich-Luft-Preise 2022 \n\n\nAbout\n\n\u201cIn 'All right. Good night.' Helgard Haug traces the disappearance, the search and the struggle with uncertainty - using the example of the missing airplane and the manifesting dementia of her own father. It is the protocol of an irreversible process. Music is the artistic medium with the greatest tradition in making the disappeared tangible. Be it through a requiem in memory of the deceased or through a choir, which already in ancient theatre appeared as a witnessing chronicler and reported on hardly imaginable battles and divine fortune.\u201d [Source]\n\nPress\n\nStatement by the Theatertreffen jury: The play is \u00bbsadly beautiful, highly concentrated mental theater dedicated to one of life\u2019s big questions: disappearance and thus death.\u00ab\n\n\n \n \n \nConcept, text, direction: Helgard Haug\n \n \n \n \t\n \n Composition: Barbara Morgenstern\n \n Orchestra: Zafraan Ensemble\n \n Hands: Johannes Benecke, Mia Rainprechter\n \n Speaker: Emma Becker, Evi Filippou, Margot G\u00f6dr\u00f6s, Ruth Reinecke, Mia Rainprechter, Louise St\u00f6ltingStage: Evi BauerVideo\/Light design: Marc JungreithmeierSound design: Peter BreitenbachConductor: Premil Petrovi\u0107Arranger: Davor Branimir VinczeDramaturgy: Juliane M\u00e4nnel Outside Eye: Aljoscha BegrichTechnichal direction: Andreas MihanResearch \/ Assistant director: Lisa HomburgerCostumes and Assistant stage designer: Christine RuynatSound Design Assistant: Rozenn Li\u00e8vreAssistant Technical direction: David ScholzProduction management: Louise St\u00f6ltingZafraan Ensemble musicians stage:Matthias Badczong (clarinet), Evi Filippou (percussion), Josa Gerhard (violin), Martin Posegga (saxophone), Beltane Ruiz (double bass)Zafraan Ensemble musicians recording:Josa Gerhard (violin), Noa Niv (trombone), Matthias Badczong (clarinet), Liam Mallet (flute), Martin Posegga (saxophone), Damir Bacikin (trumpet), Anna Viechtl (harp), Adam Weisman (drums), Yumi Onda (violin), Benedikt Bindewald (viola recording), Maria Reich (viola), Alice Dixon (cello), Natalie Pl\u00f6ger (double bass), Florian Juncker (trombone)In this excellent work, Helgard Haug has tuned into slow evanescence over a period of eight years. It gives the bereaved of the ill-fated flight \u2013 who have to live one day at a time without answers, to live without a body, without a burial \u2013 a chance to speak. And it tells of an existentially fraught disease with no chance of healing. What is the self? What does dignity mean? In his last email to the director, her father wrote, \u201cPlease stay in touch with me. Try to understand. And where possible, to forgive.\u201d - Tagesspiegel\n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n\n{image 1}\n\n{image 3}\n\n{image 2}\nPhotos by Merlin Nadj-Torma\n\n\nPerformances:\n\nBerlin, HAU Hebbel am Ufer 16. \u2013 21.12.2021\nVienna, Volkstheater 30. \u2013 31.03.2022\nM\u00fclheim, 47. M\u00fclheimer Theatertage 19.05.2022\nEssen, PACT Zollverein, eine Kooperationsveranstaltung von IMPULSE Theater Festival und PACT Zollverein. 14. \u2013 15.06.2022\nFrankfurt\/Main, K\u00fcnstlerhaus Mousonturm 21. \u2013 23.09.2022\nLudwigshafen, Festspiele Ludwigshafen 06. \u2013 07.12.2022\nChur, Theater Chur 09.02.2023\nHannover, Kunstfestspiele Herrenhausen 26. \u2013 27.05.2023\nManchester, MIF 06. \u2013 08.07.2023Zurich, Z\u00fcrcher Theaterspektakel 27. \u2013 29.08.2023\n\nSantiago de Chile, Santiago a Mil 11. \u2013 13.01.2024\nBerlin, HAU Hebbel am Ufer 08. \u2013 11.02.2024Taichung, National Taichung Theater 24. \u2013 26.05.2024Strasbourg, Maillon, Th\u00e9\u00e2tre de Strasbourg \u2013 Sc\u00e8ne europ\u00e9enne 27. \u2013 28.09.2024New York City, Skirball NYU 25. \u2013 27.09.2025Baden, Kurtheater 06.12.2025\n\n{image 13}","content_partial_html":"All Right. Good Night.A play about disappearance and loss\n\n\nby Rimini Protokoll (Haug)\nTheatre | Sound Design\n\n\nInvited to\n\n\n\n\n\n\n\n\n\nand nominated for Friedrich-Luft-Preise 2022 \n\n\nAbout\n\n\u201cIn 'All right. Good night.' Helgard Haug traces the disappearance, the search and the struggle with uncertainty - using the example of the missing airplane and the manifesting dementia of her own father. It is the protocol of an irreversible process. Music is the artistic medium with the greatest tradition in making the disappeared tangible. Be it through a requiem in memory of the deceased or through a choir, which already in ancient theatre appeared as a witnessing chronicler and reported on hardly imaginable battles and divine fortune.\u201d [Source]\n\nPress\n\nStatement by the Theatertreffen jury: The play is \u00bbsadly beautiful, highly concentrated mental theater dedicated to one of life\u2019s big questions: disappearance and thus death.\u00ab\n\n\n \n \n \nConcept, text, direction: Helgard Haug\n \n \n \n \t\n \n Composition: Barbara Morgenstern\n \n Orchestra: Zafraan Ensemble\n \n Hands: Johannes Benecke, Mia Rainprechter\n \n Speaker: Emma Becker, Evi Filippou, Margot G\u00f6dr\u00f6s, Ruth Reinecke, Mia Rainprechter, Louise St\u00f6ltingStage: Evi BauerVideo\/Light design: Marc JungreithmeierSound design: Peter BreitenbachConductor: Premil Petrovi\u0107Arranger: Davor Branimir VinczeDramaturgy: Juliane M\u00e4nnel Outside Eye: Aljoscha BegrichTechnichal direction: Andreas MihanResearch \/ Assistant director: Lisa HomburgerCostumes and Assistant stage designer: Christine RuynatSound Design Assistant: Rozenn Li\u00e8vreAssistant Technical direction: David ScholzProduction management: Louise St\u00f6ltingZafraan Ensemble musicians stage:Matthias Badczong (clarinet), Evi Filippou (percussion), Josa Gerhard (violin), Martin Posegga (saxophone), Beltane Ruiz (double bass)Zafraan Ensemble musicians recording:Josa Gerhard (violin), Noa Niv (trombone), Matthias Badczong (clarinet), Liam Mallet (flute), Martin Posegga (saxophone), Damir Bacikin (trumpet), Anna Viechtl (harp), Adam Weisman (drums), Yumi Onda (violin), Benedikt Bindewald (viola recording), Maria Reich (viola), Alice Dixon (cello), Natalie Pl\u00f6ger (double bass), Florian Juncker (trombone)In this excellent work, Helgard Haug has tuned into slow evanescence over a period of eight years. It gives the bereaved of the ill-fated flight \u2013 who have to live one day at a time without answers, to live without a body, without a burial \u2013 a chance to speak. And it tells of an existentially fraught disease with no chance of healing. What is the self? What does dignity mean? In his last email to the director, her father wrote, \u201cPlease stay in touch with me. Try to understand. And where possible, to forgive.\u201d - Tagesspiegel\n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n\n\n\n\n\n\nPhotos by Merlin Nadj-Torma\n\n\nPerformances:\n\nBerlin, HAU Hebbel am Ufer 16. \u2013 21.12.2021\nVienna, Volkstheater 30. \u2013 31.03.2022\nM\u00fclheim, 47. M\u00fclheimer Theatertage 19.05.2022\nEssen, PACT Zollverein, eine Kooperationsveranstaltung von IMPULSE Theater Festival und PACT Zollverein. 14. \u2013 15.06.2022\nFrankfurt\/Main, K\u00fcnstlerhaus Mousonturm 21. \u2013 23.09.2022\nLudwigshafen, Festspiele Ludwigshafen 06. \u2013 07.12.2022\nChur, Theater Chur 09.02.2023\nHannover, Kunstfestspiele Herrenhausen 26. \u2013 27.05.2023\nManchester, MIF 06. \u2013 08.07.2023Zurich, Z\u00fcrcher Theaterspektakel 27. \u2013 29.08.2023\n\nSantiago de Chile, Santiago a Mil 11. \u2013 13.01.2024\nBerlin, HAU Hebbel am Ufer 08. \u2013 11.02.2024Taichung, National Taichung Theater 24. \u2013 26.05.2024Strasbourg, Maillon, Th\u00e9\u00e2tre de Strasbourg \u2013 Sc\u00e8ne europ\u00e9enne 27. \u2013 28.09.2024New York City, Skirball NYU 25. \u2013 27.09.2025Baden, Kurtheater 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What legacy will be...","content":"FUTUR4\nby RIMINI PROTOKOLL (Haug and Wetzel)\n\n\n\nTheatre | Sound Design\n\n\nAbout\nWhat does one generation expect from the next? What legacy will be inherited? Is it even possible to compare the experiences of young people today with those from 50 years ago? And what about the youth of 50 years from now?\n\nOne of the two protagonists of this documentary work comes from Transylvania and was bought out of Romania by the Federal Republic of Germany in the 1970s - \u201cwithout a receipt\u201d, without an option to return, disconnected from her own history. 50 years and many turning points later, she enters into a dialog on stage with an AI expert and various simulations of herself - modeled with AI on the basis of private and historical data. A science fiction that can be experienced.\n\nNew futures are constantly being designed from the patterns of the past, questioning expectations and possibilities in equal measure.\n\nWhat does the \u2018right to one's own past and history\u2019 (Herta M\u00fcller) do to the ability to shape the future?What can, what does the next generation want to know? How will it relate to what was? How can it be measured against it as it approaches? What processes of change do cultural identities undergo? How are they disrupted, modified, contained?\n\nEvery evening, the play cuts its way further into a present that was still the future during previous performances.\n\nFutur4 is the third part of a series of monologues following \u2018Black Tie\u2019 (2008) and \u2018Quality Control\u2019 (2013).\n\n\n\n\n\n\n\n\n\n\nPhotos by (c) Maximilian BorchardtPerformances\n\nWiesbaden, Hessischen Staatstheater Wiesbaden 03. \u2013 05.05.2025M\u00fcnster, Theater im Pumpenhaus 30. \u2013 31.05.2025Sibiu, Sibiu International Theatre Festival \/ Teatrul Na\u021bional Radu Stanca Sibiu 20. \u2013 21.06.2025Berlin, HAU Hebbel am Ufer 04. \u2013 05.10.2025\nStuttgart, RAMPE 09. \u2013 11.10.2025\n\n","content_no_html":"FUTUR4\nby RIMINI PROTOKOLL (Haug and Wetzel)\n\n\n\nTheatre | Sound Design\n\n\nAbout\nWhat does one generation expect from the next? What legacy will be inherited? Is it even possible to compare the experiences of young people today with those from 50 years ago? And what about the youth of 50 years from now?\n\nOne of the two protagonists of this documentary work comes from Transylvania and was bought out of Romania by the Federal Republic of Germany in the 1970s - \u201cwithout a receipt\u201d, without an option to return, disconnected from her own history. 50 years and many turning points later, she enters into a dialog on stage with an AI expert and various simulations of herself - modeled with AI on the basis of private and historical data. A science fiction that can be experienced.\n\nNew futures are constantly being designed from the patterns of the past, questioning expectations and possibilities in equal measure.\n\nWhat does the \u2018right to one's own past and history\u2019 (Herta M\u00fcller) do to the ability to shape the future?What can, what does the next generation want to know? How will it relate to what was? How can it be measured against it as it approaches? What processes of change do cultural identities undergo? How are they disrupted, modified, contained?\n\nEvery evening, the play cuts its way further into a present that was still the future during previous performances.\n\nFutur4 is the third part of a series of monologues following \u2018Black Tie\u2019 (2008) and \u2018Quality Control\u2019 (2013).\n\n\n\n\n\n{image 4}\n{image 1}\n{image 2}\n{image 3}\n\nPhotos by (c) Maximilian BorchardtPerformances\n\nWiesbaden, Hessischen Staatstheater Wiesbaden 03. \u2013 05.05.2025M\u00fcnster, Theater im Pumpenhaus 30. \u2013 31.05.2025Sibiu, Sibiu International Theatre Festival \/ Teatrul Na\u021bional Radu Stanca Sibiu 20. \u2013 21.06.2025Berlin, HAU Hebbel am Ufer 04. \u2013 05.10.2025\nStuttgart, RAMPE 09. \u2013 11.10.2025\n\n","content_partial_html":"FUTUR4\nby RIMINI PROTOKOLL (Haug and Wetzel)\n\n\n\nTheatre | Sound Design\n\n\nAbout\nWhat does one generation expect from the next? What legacy will be inherited? Is it even possible to compare the experiences of young people today with those from 50 years ago? And what about the youth of 50 years from now?\n\nOne of the two protagonists of this documentary work comes from Transylvania and was bought out of Romania by the Federal Republic of Germany in the 1970s - \u201cwithout a receipt\u201d, without an option to return, disconnected from her own history. 50 years and many turning points later, she enters into a dialog on stage with an AI expert and various simulations of herself - modeled with AI on the basis of private and historical data. A science fiction that can be experienced.\n\nNew futures are constantly being designed from the patterns of the past, questioning expectations and possibilities in equal measure.\n\nWhat does the \u2018right to one's own past and history\u2019 (Herta M\u00fcller) do to the ability to shape the future?What can, what does the next generation want to know? How will it relate to what was? How can it be measured against it as it approaches? What processes of change do cultural identities undergo? How are they disrupted, modified, contained?\n\nEvery evening, the play cuts its way further into a present that was still the future during previous performances.\n\nFutur4 is the third part of a series of monologues following \u2018Black Tie\u2019 (2008) and \u2018Quality Control\u2019 (2013).\n\n\n\n\n\n\n\n\n\n\nPhotos by (c) Maximilian BorchardtPerformances\n\nWiesbaden, Hessischen Staatstheater Wiesbaden 03. \u2013 05.05.2025M\u00fcnster, Theater im Pumpenhaus 30. \u2013 31.05.2025Sibiu, Sibiu International Theatre Festival \/ Teatrul Na\u021bional Radu Stanca Sibiu 20. \u2013 21.06.2025Berlin, HAU Hebbel am Ufer 04. \u2013 05.10.2025\nStuttgart, RAMPE 09. \u2013 11.10.2025\n\n","thumb":"240570438","thumb_meta":{"thumbnail_crop":{"percentWidth":"100","marginLeft":0,"marginTop":0,"imageModel":{"id":240570438,"project_id":37967128,"image_ref":"{image 1}","name":"futur4-amamaxborchardt-10.jpg","hash":"c1fa8edd15d311cee207b15afe1aef23c2ebd7cd7042587e6341355c9ee356ec","width":3000,"height":2000,"sort":0,"exclude_from_backdrop":false,"date_added":1762968588},"stored":{"ratio":66.666666666667,"crop_ratio":"16x9"},"cropManuallySet":false}},"thumb_is_visible":true,"sort":12,"index":2,"set_id":6142651,"page_options":{"using_local_css":true,"local_css":"[local-style=\"37967128\"] .container_width {\n}\n\n[local-style=\"37967128\"] body {\n}\n\n[local-style=\"37967128\"] .backdrop {\n\twidth: calc(100% - 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The extent of such intrusions was documented in the Snowden leaks and again in the \u201cCIA Hacking Tools\u201d released by Wikileaks in March 2017. These invisible techniques of accessing private data can be experienced in the installation Surveillance Music as sound. The installation consists of four parts: Polygon, hard drive, pedestal and inductional coil microphones. The white smooth polygon is floating two meters above ground, attached to three thin metal strings. It features speakers on the sides and black cables hanging down from three openings. Connected to the end of the cables are inductional coil microphones. These move vertically in the electromagnetic field of the hard drive, controlled by a computer and motors hidden in the polygon. The microphones transform the electromagnetic field into our range of perception and makes it audible through the speakers.\nIn the process of making the electromagnetic field of the hard drive audible, the data on it is part of the sonic fingerprint and of the composition. The programmed movements of the inductional coil microphones form the music. The installation is looped. \n\n\n\n\n\n\n\n\n\tTHE WIRE, June 2017:Scope Plus Huddersfield [...] notably Peter Breitenbach's Surveillance Music: Three electromagnetic induction coils suspended above a hard drive, whose gliding arcs translated the data's invisible fingerprint into an ominous seepage of buzzes, pops and hums.\n\n\n\n\n\n\n\n\n\n\n\n\n \n \nRecording of Surveillance Music @Scope Plus | Huddersfiled (UK) 18.03.017\n\n\n\n\n\n\nExhibitions:\n2018 - Swinton Gallery, ln Sonora 10, Madrid (ES)2017 - Scope Plus, Huddesfield (UK)2016 - Galerie Wernert, Trossingen (D)\n","content_no_html":"Surveillance MusicPolygon, inductional coil microphones, hard drive, pedestal\n\n\nSound Art | Sound Installation\n\n\n \nOne technology of surveillance of electronic devices is the inductive recording of electromagnetic fields. The extent of such intrusions was documented in the Snowden leaks and again in the \u201cCIA Hacking Tools\u201d released by Wikileaks in March 2017. These invisible techniques of accessing private data can be experienced in the installation Surveillance Music as sound. The installation consists of four parts: Polygon, hard drive, pedestal and inductional coil microphones. The white smooth polygon is floating two meters above ground, attached to three thin metal strings. It features speakers on the sides and black cables hanging down from three openings. Connected to the end of the cables are inductional coil microphones. These move vertically in the electromagnetic field of the hard drive, controlled by a computer and motors hidden in the polygon. The microphones transform the electromagnetic field into our range of perception and makes it audible through the speakers.\nIn the process of making the electromagnetic field of the hard drive audible, the data on it is part of the sonic fingerprint and of the composition. The programmed movements of the inductional coil microphones form the music. The installation is looped. \n\n\n\n\n\n{image 13 scale=\"96\"}\n\n\n\tTHE WIRE, June 2017:Scope Plus Huddersfield [...] notably Peter Breitenbach's Surveillance Music: Three electromagnetic induction coils suspended above a hard drive, whose gliding arcs translated the data's invisible fingerprint into an ominous seepage of buzzes, pops and hums.\n\n\n{image 11}\n{image 8}\n{image 4}\n\n\n\n\n\n\n\n \n \nRecording of Surveillance Music @Scope Plus | Huddersfiled (UK) 18.03.017\n\n\n\n\n\n\nExhibitions:\n2018 - Swinton Gallery, ln Sonora 10, Madrid (ES)2017 - Scope Plus, Huddesfield (UK)2016 - Galerie Wernert, Trossingen (D)\n","content_partial_html":"Surveillance MusicPolygon, inductional coil microphones, hard drive, pedestal\n\n\nSound Art | Sound Installation\n\n\n \nOne technology of surveillance of electronic devices is the inductive recording of electromagnetic fields. The extent of such intrusions was documented in the Snowden leaks and again in the \u201cCIA Hacking Tools\u201d released by Wikileaks in March 2017. These invisible techniques of accessing private data can be experienced in the installation Surveillance Music as sound. The installation consists of four parts: Polygon, hard drive, pedestal and inductional coil microphones. The white smooth polygon is floating two meters above ground, attached to three thin metal strings. It features speakers on the sides and black cables hanging down from three openings. Connected to the end of the cables are inductional coil microphones. These move vertically in the electromagnetic field of the hard drive, controlled by a computer and motors hidden in the polygon. The microphones transform the electromagnetic field into our range of perception and makes it audible through the speakers.\nIn the process of making the electromagnetic field of the hard drive audible, the data on it is part of the sonic fingerprint and of the composition. The programmed movements of the inductional coil microphones form the music. The installation is looped. \n\n\n\n\n\n\n\n\n\tTHE WIRE, June 2017:Scope Plus Huddersfield [...] notably Peter Breitenbach's Surveillance Music: Three electromagnetic induction coils suspended above a hard drive, whose gliding arcs translated the data's invisible fingerprint into an ominous seepage of buzzes, pops and hums.\n\n\n\n\n\n\n\n\n\n\n\n\n \n \nRecording of Surveillance Music @Scope Plus | Huddersfiled (UK) 18.03.017\n\n\n\n\n\n\nExhibitions:\n2018 - Swinton Gallery, ln Sonora 10, Madrid (ES)2017 - Scope Plus, Huddesfield (UK)2016 - Galerie Wernert, Trossingen (D)\n","thumb":"56239187","thumb_meta":{"thumbnail_crop":{"percentWidth":"100","marginLeft":0,"marginTop":0,"imageModel":{"id":56239187,"project_id":6142637,"image_ref":"{image 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Swarm","tags":"","display":true,"pin":false,"pin_options":null,"in_nav":false,"is_homepage":false,"backdrop_enabled":true,"is_set":false,"stack":false,"excerpt":"Arcana Swarm\n\nby Kat V\u00e1lastur\n\n\n\n\nDance | Sound Design | Composition | Live Mixing\n\n\n\n\n\n\n\n\n\n\n\n\n\u201cThe sound, the objects, the diffuse light, the emotional states...","content":"Arcana Swarm\nby Kat V\u00e1lastur\n\nDance | Sound Design | Composition | Live Mixing\n\n\n\n\n\n\u201cThe sound, the objects, the diffuse light, the emotional states of suspension, the karst and exalted movements - all of this seems bizarre and puzzling, sometimes disturbing and frightening. And everything together results in the image of an obsessive-compulsive neurotic society - that seems to be its present diagnosis here. There is no well-tempered equilibrium, only states of constant excitement.This is nothing new as a diagnosis, but it is accurate and perfectly staged by Kat Valastur in one of her most haunting pieces.\u201d \n- Frank Schmid, rbbKultur (21-11-2019) [Source]\n\n\n\n\nConcept, script & choreography: Kat V\u00e1lastur \nPerformance: Juan Pablo C\u00e1mara, Ixchel Mendoza Hernandez, Gaetano Montecasino, Ogbitse Omagbemi, Tamar Sonn, Sarah Stanley, Tiran Willemse \nLight design: Martin Beeretz\nSound design: Peter Breitenbach\nSet design: Leon Eixenberger\nCostume: Kat V\u00e1lastur\nDramaturgical advice: Einav Katan-Schmid, Maja Zimmermann Outside eye: Alexandra Balona \/ Yiannis Papachristos \nAssistance choreography: K\u00e9vin Quinaou \nProduction management: HAU Artist Office \/ Sabine Seifert \nTouring & distribution: HAU Artist Office \/ Nicole Schuchardt\n\nFurther Information \ue04a\ufe0e. \n\n\n\n\n\n\n\n \n \n \nVideo, editing: Kat V\u00e1lastur\n \n Music: Peter Breitenbach (Composition for \u203aArcana Swarm\u2039) \n \n \n \n \tImages, documentary photography: Richard Drew, Sebastiao Salgado, Robert Frank\n \n Paintings, art works: Jan Van Eyk, Gian Lorenzo Bernini, Jacopo Pontormo, Th\u00e9odore G\u00e9ricault, Pieter Bruegel, intertwined with excerpts from the piece \u203aArcana Swarm\u2039\n \n \n \n \n \n \n \n \n \n\n\n \n\n\n\nPerformances:\n\n\n \n\n \n Berlin, HAU Hebbel am Ufer\n \n 20. - 23.11.2019\n \n \n \n \n \n\n \n Paris, Th\u00e9\u00e2tre de la Cit\u00e9 International, within the programming of Th\u00e9\u00e2tre de la Ville\n 28. - 30.11.2019\n \nKortrijk, Next Festival\n \n 06.12.2019\n \n \n \n \n \n \n \n \n","content_no_html":"Arcana Swarm\nby Kat V\u00e1lastur\n\nDance | Sound Design | Composition | Live Mixing\n\n\n{image 3}\n\n\n\u201cThe sound, the objects, the diffuse light, the emotional states of suspension, the karst and exalted movements - all of this seems bizarre and puzzling, sometimes disturbing and frightening. And everything together results in the image of an obsessive-compulsive neurotic society - that seems to be its present diagnosis here. There is no well-tempered equilibrium, only states of constant excitement.This is nothing new as a diagnosis, but it is accurate and perfectly staged by Kat Valastur in one of her most haunting pieces.\u201d \n- Frank Schmid, rbbKultur (21-11-2019) [Source]\n\n\n\n\nConcept, script & choreography: Kat V\u00e1lastur \nPerformance: Juan Pablo C\u00e1mara, Ixchel Mendoza Hernandez, Gaetano Montecasino, Ogbitse Omagbemi, Tamar Sonn, Sarah Stanley, Tiran Willemse \nLight design: Martin Beeretz\nSound design: Peter Breitenbach\nSet design: Leon Eixenberger\nCostume: Kat V\u00e1lastur\nDramaturgical advice: Einav Katan-Schmid, Maja Zimmermann Outside eye: Alexandra Balona \/ Yiannis Papachristos \nAssistance choreography: K\u00e9vin Quinaou \nProduction management: HAU Artist Office \/ Sabine Seifert \nTouring & distribution: HAU Artist Office \/ Nicole Schuchardt\n\nFurther Information \ue04a\ufe0e. \n\n\n\n\n\n\n\n \n \n \nVideo, editing: Kat V\u00e1lastur\n \n Music: Peter Breitenbach (Composition for \u203aArcana Swarm\u2039) \n \n \n \n \tImages, documentary photography: Richard Drew, Sebastiao Salgado, Robert Frank\n \n Paintings, art works: Jan Van Eyk, Gian Lorenzo Bernini, Jacopo Pontormo, Th\u00e9odore G\u00e9ricault, Pieter Bruegel, intertwined with excerpts from the piece \u203aArcana Swarm\u2039\n \n \n \n \n \n \n \n \n \n\n\n \n\n\n\nPerformances:\n\n\n \n\n \n Berlin, HAU Hebbel am Ufer\n \n 20. - 23.11.2019\n \n \n \n \n \n\n \n Paris, Th\u00e9\u00e2tre de la Cit\u00e9 International, within the programming of Th\u00e9\u00e2tre de la Ville\n 28. - 30.11.2019\n \nKortrijk, Next Festival\n \n 06.12.2019\n \n \n \n \n \n \n \n \n","content_partial_html":"Arcana Swarm\nby Kat V\u00e1lastur\n\nDance | Sound Design | Composition | Live Mixing\n\n\n\n\n\n\u201cThe sound, the objects, the diffuse light, the emotional states of suspension, the karst and exalted movements - all of this seems bizarre and puzzling, sometimes disturbing and frightening. 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- [H2] All Right. Good Night.
- [H2] FUTUR4
- [H2] Surveillance Music
- [H2] Arcana Swarm
- [H4] Co-co-co-co-collaps
Bilder
Es konnten 62 Bilder auf dieser Webseite gefunden werden.
Auf peterbreitenbach.de fehlen bei 62 von 62 Bilddateien ALT-Attribute. Beschreibende Alternativtexte helfen Suchmaschinen und verbessern zugleich die Zugänglichkeit der Seite.
Text/HTML Verhältnis
Anteil : 1%
Das Text-zu-HTML-Verhältnis von peterbreitenbach.de liegt nur bei 1% und damit unter dem empfohlenen Mindestwert von 15%. Mehr eigener, sichtbarer Inhalt würde der Seite helfen, ihr Thema klarer zu vermitteln.
Flash
Auf peterbreitenbach.de wurde kein Flash gefunden. Das ist positiv, weil moderne Browser und Suchmaschinen mit aktuellen HTML-, CSS- und JavaScript-Lösungen deutlich besser umgehen.
IFrame
Auf peterbreitenbach.de wurden IFrames gefunden. Eingebettete Inhalte können für Suchmaschinen schwerer einzuordnen sein und sollten nur dort eingesetzt werden, wo sie wirklich notwendig sind.
SEO Links
Eine klare Linkstruktur erleichtert Suchmaschinen das Crawlen, verteilt interne Relevanz und hilft Besuchern, wichtige Inhalte schnell zu finden.
URL Rewrite
peterbreitenbach.de verwendet lesbare URL-Strukturen. Das ist ein Vorteil für Navigation, Teilen von Links und die schnelle thematische Einordnung einzelner Seiten.
Underscores in the URLs
In Links von peterbreitenbach.de wurden Unterstriche entdeckt. Für SEO-freundliche und leichter lesbare URLs sind Bindestriche in der Regel besser geeignet.
In-page links
We found a total of 42 links including 1 link(s) to files
| Anker | Typ | Natürlich |
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| {{title}} | intern | natürliche Links |
| ︎ | intern | natürliche Links |
| ︎MENU | intern | natürliche Links |
| ︎INFO / CONTACT | intern | natürliche Links |
| - | extern | natürliche Links |
| [SOURCE] | extern | natürliche Links |
| The Sea Beats von The Sea Beats | extern | natürliche Links |
| Volkstheater | extern | natürliche Links |
| HAU Hebbel am Ufer | extern | natürliche Links |
| Tagesspiegel | extern | natürliche Links |
| HAU Hebbel am Ufer | extern | natürliche Links |
| Volkstheater | extern | natürliche Links |
| 47. Mülheimer Theatertage | extern | natürliche Links |
| PACT Zollverein, eine Kooperationsveranstaltung von IMPULSE Theater Festival und PACT Zollverein. | extern | natürliche Links |
| Künstlerhaus Mousonturm | extern | natürliche Links |
| Festspiele Ludwigshafen | extern | natürliche Links |
| Theater Chur | extern | natürliche Links |
| Kunstfestspiele Herrenhausen | extern | natürliche Links |
| MIF | extern | natürliche Links |
| Zürcher Theaterspektakel | extern | natürliche Links |
| Santiago a Mil | extern | natürliche Links |
| HAU Hebbel am Ufer | extern | natürliche Links |
| National Taichung Theater | extern | natürliche Links |
| Maillon, Théâtre de Strasbourg – Scène européenne | extern | natürliche Links |
| Skirball NYU | extern | natürliche Links |
| Kurtheater | extern | natürliche Links |
| Black Tie | extern | natürliche Links |
| Quality Control | extern | natürliche Links |
| Hessischen Staatstheater Wiesbaden | extern | natürliche Links |
| Theater im Pumpenhaus | extern | natürliche Links |
| Sibiu International Theatre Festival / Teatrul Național Radu Stanca Sibiu | extern | natürliche Links |
| HAU Hebbel am Ufer | extern | natürliche Links |
| RAMPE | extern | natürliche Links |
| ln Sonora 10 | extern | natürliche Links |
| Scope Plus | extern | natürliche Links |
| Kat Válastur | extern | natürliche Links |
| [Source] | extern | natürliche Links |
| Further Information ︎. | extern | natürliche Links |
| HAU Hebbel am Ufer | extern | natürliche Links |
| - | extern | natürliche Links |
| Théâtre de la Cité International | extern | natürliche Links |
| Next Festival | extern | natürliche Links |
SEO Suchbegriffe
Die Suchbegriffsauswertung zeigt, welche Themen die Seite tatsächlich vermittelt und ob wichtige Begriffe in Inhalt und Seitenelementen konsistent vorkommen.
Suchbegriffswolke
kat artist sound design válastur hau arcana office light swarm
Keywords Consistency
| Suchbegriff | Inhalt | Seitentitel | Suchbegriffe | Seitenbeschreibung | Überschriften |
|---|---|---|---|---|---|
| kat | 5 |  |
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| válastur | 4 | |
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| design | 4 | |
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| hau | 3 | |
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| arcana | 3 | |
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Benutzerfreundlichkeit
Gute Benutzerfreundlichkeit stärkt Vertrauen und erleichtert die Nutzung. Geprüft werden unter anderem URL, Favicon, Sprache und Druckdarstellung.
URL
Domain : peterbreitenbach.de
Länge : 19
Favoriten Icon
peterbreitenbach.de stellt ein Favicon bereit. Dieses kleine Symbol verbessert Wiedererkennung in Browser-Tabs, Lesezeichen und Suchergebnisumgebungen.
Druckeigenschaften
Für peterbreitenbach.de wurden keine speziellen Druck-CSS-Angaben gefunden. Eigene Print-Styles können helfen, Navigation, Farben und Layout beim Drucken sinnvoll zu reduzieren.
Sprache
Die Spracheinstellung von peterbreitenbach.de ist vorhanden: en. Diese Angabe macht das Dokument für Crawler und assistive Technologien klarer interpretierbar.
Dublin Core
Bei peterbreitenbach.de wurden keine Dublin-Core-Elemente gefunden. Das ist nicht für jede Website zwingend, kann aber bei dokumentenartigen oder redaktionellen Inhalten nützlich sein.
Dokument
Sauberes HTML, eine korrekte Zeichencodierung und moderne Standards verbessern Kompatibilität, Zugänglichkeit und die zuverlässige Verarbeitung der Seite.
Doctype
HTML 5
Verschlüsselung
peterbreitenbach.de deklariert den Zeichensatz UTF-8. Das ist wichtig, damit Sonderzeichen, Umlaute und typografische Zeichen korrekt dargestellt werden.
W3C Validität
Fehler : 0
Warnungen : 0
E-Mail Datenschutz
Auf peterbreitenbach.de wurde mindestens eine E-Mail-Adresse im Klartext gefunden. Solche Angaben können von Bots gesammelt werden. Mit diesem kostenlosen Werkzeug lassen sich Adressen besser schützen.
Veraltetes HTML
peterbreitenbach.de verwendet keine überholten HTML-Tags in den geprüften Inhalten. Das spricht für eine zeitgemäße technische Basis.
Tipps zur Webseitengeschwindigkeit
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Bei peterbreitenbach.de wurden keine verschachtelten Tabellen erkannt. Das ist positiv für sauberes Markup und responsive Gestaltung. |
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Auf peterbreitenbach.de wurden Inline-CSS-Angaben gefunden. Wenn möglich, sollten diese Regeln in Stylesheets verlagert werden, damit Gestaltung und Inhalt sauberer getrennt sind. |
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peterbreitenbach.de verwendet mit 2 CSS-Dateien eine überschaubare Stylesheet-Struktur. Das kann Ladezeit und Wartung positiv beeinflussen. |
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peterbreitenbach.de bindet mit 4 JavaScript-Dateien nur eine begrenzte Menge Skripte ein. Das ist eine gute Grundlage für schnelle Ladezeiten. |
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Gzip ist für peterbreitenbach.de aktiv. Komprimierte Antworten sparen Datenvolumen und beschleunigen die Auslieferung der Seite. |
Mobile
Mobile Optimierung ist wichtig, weil viele Besucher Smartphones nutzen. Viewport, Icons und ungeeignete Technologien beeinflussen Darstellung und Bedienbarkeit.
Mobile Optimierung
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Apple Icon |
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META Viewport Tag |
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Flash Inhalt |
Optimierung
Sitemap, robots.txt, Komprimierung und Analysesysteme beeinflussen, wie effizient eine Website gecrawlt, ausgeliefert und gezielt weiterentwickelt werden kann.
XML-Sitemap
peterbreitenbach.de stellt eine XML-Sitemap bereit. Das hilft Suchmaschinen, wichtige URLs schneller zu entdecken und Änderungen strukturierter zu erfassen.
| https://peterbreitenbach.de/sitemap.xml |
Robots.txt
http://peterbreitenbach.de/robots.txt
Eine robots.txt ist für peterbreitenbach.de vorhanden. Das ist die richtige Stelle, um Suchmaschinen den Umgang mit bestimmten Bereichen der Website zu erklären.
Analytics
Fehlt
peterbreitenbach.de scheint kein Analytics-System einzusetzen. Ein datenschutzkonform eingebundenes Analyse-Tool kann helfen, Optimierungen gezielter zu planen.
PageSpeed Insights
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Gerät
Kategorien
Website-Überprüfung
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