In the organizer's words:
Play by Milan Peschel & Ensemble
A: I just don’t know how to start. Do you understand? I just can’t seem to grasp a single thought, to put anything into words that I can say is on my mind, that is my life.
B: Yeah, I’d love to say this is the beginning of something new, of something significant, but I just can’t decide what that should be. “On the Eve of the Catastrophe”—what I wonder above all is what hasn’t happened yet. How could it have come to this? Since the end of the Cold War, which was supposedly supposed to coincide with the end of history, we’ve clearly been on a path of acceleration that ends in destruction. I mean, as a lover of catastrophes, I don’t mind that, but one should at least take note that the future of back then has now become our present. And it’s a present marked by multiple crises, in which catastrophe is within reach, and which we witness—chattering or speechless, so to speak—trapped in programmed loops of meaning. But I don’t want to spoil anyone’s mood here; I’m just trying to find a starting point.
C: The beginning goes like this: This is a true story. All the events depicted here are true and can only be recounted by the people who were there, who actually experienced them. And then we’ll talk about how it didn’t happen and how it could have happened if only we’d talked about it sooner.
B: All right, let’s get started.
A: But how exactly are we going to start?
Together with the ensemble, director and actor Milan Peschel creates an evening set before the catastrophe, in search of connection and interaction. What is it, really, that triggers positive feelings within us? Despite all of this—and perhaps precisely because of it. An encounter that sparks further reflection.
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