DIE PAPILLONS | heim-kehr

In the organizer's words:

homecoming

"I want to go home!" exclaims 87-year-old Anna repeatedly. Very old people often express themselves in this way. It is not always a desire to embark on their last journey, but to return to their childhood and home. The musical theater production heim-kehr explores the question of what or who provided protection in childhood despite the hurdles of life. heim-kehr also means, accompanied by four children, the return to language - where silence threatened.

By and with: Theater ensemble DIE PAPILLONS and Leonore, Maris, Vitus and Till Winter, Michael Hanemann. Artistic direction/concept/direction: Christine Vogt I Costumes/projections/conceptual collaboration: Silja Landsberg | Sound collages/live accordion: Annika Hein | Stage: Anna Wörl | Light/sound: Sven Keufner I Supervision: Claudia Blaich, Petra Fock, Anne Goldmann I Beate Mulfinger I Press: AugustinPR Yven Augustin

Contact: Stefanie Wind (Unionhilfswerk), Tel. 0173 616 1086, stefanie.wind@unionhilfswerk.de

Theater ensemble PAPILLONS

PAPILLONS is the "extraordinary" and "wondrous" (SZ Magazin) theater ensemble with 11 actors, mostly suffering from dementia, from the nursing home "Am Kreuzberg" Berlin, professional artists and volunteers, founded and artistically directed by Christine Vogt since 2016. Children also regularly take part.

The pioneering work based in the care home sees itself as an art project at home in new music, performance art and biographical-documentary theater. The heterogeneous audience experiences the performances in an unusual location; in the F2 Theater in the nursing home, where specific forms of theater are tested and understood as an artistic-aesthetic added value for the theater scene. Through the predominantly biographical work with the actors, personal stories are brought to the stage and 'history' is passed on. Old, sometimes forgotten people are heard. Dignity is given (back) to them.

The linked video shows impressions from our musical theater production 'Totenwache' (2025) and gives an atmospheric insight into the ensemble's working methods