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Homo Digitalis
Gilliéron/Koch/Wey
WHERE ARE YOU
GHOSTS OF THE BRAVE NEW WORLD
YOU ARE THERE
WITHOUT BEING THERE
Gilliéron/Koch/Wey, [email protected], 0049-(0)17684521280
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Gilliéron/Koch/Wey
HOMO DIGITALIS
„Homo Digitalis“ deals with new forms of working in an increasingly digital world and examines
the changing everyday work taking place behind screens and in a world of global networking.
Technology not only shapes the human, it also dictates his way of living and outgrows him.
By now, machines and algorithms improve and renew themselves almost autonomously. It
is not only us using the programs but rather the programs using us. Now and in the future,
digitalization creates a great deal of new forms of life and work. What is the impact on the
human, his work and the social areas? How do we conceive the digital workplace? What is
ghosting through the net? Questions addressed by four performers in a utopian tracking.
As a means to research Gilliéron/Koch/Wey use the internet platform fiverr.com, purchasing
various contents for $5, therefore turning their piece into the commercial centre of a globally
interconnected theatre enterprise. On fiverr.com individuals from all over the world sell diverse
services for 5 US-Dollars which either define themselves by their uniqueness or/and by being
tailor-made for any needs the customer might have. Does the chance for everyone to offer their
work online create a new level of freedom? Or - on the contrary - could everyone taking charge
of their ‚„Me Incorporated“ be a restriction? What am I willing to conduct for $5 - for example
over here or in India - and how much am I willing to work for it?
Additionally, the so-called Clickworkers as well as the growing displacement of the human from
the (work) environment through automatization of work by algorithms, machines and robots is
addressed. It deals with freedom and transparency, community and individuality, automatization
and optimization right up to the dissolution of man in the digital world.
Gilliéron/Koch/Wey, [email protected], 0049-(0)17684521280
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I am dissolving. I am here and there a little. I am nowhere really. The search engines collect
fragments of my personality like detectives, but I remain inscrutable. My whereabouts are
uncertain. And when I die the fragments remain untouched. They rest stoic. Images of myself
laughing, gesticulating wildly, I keep existing without anyone asking me to. One may neither live
nor die for real. One is kept prisoner in this intermediate realm, in this purgatory.
SAVE
DON‘T SAVE
Trailer: https://vimeo.com/167169211
Gilliéron/Koch/Wey, [email protected], 0049-(0)17684521280
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Premiere:
Kaserne Basel
Thursday, March 31. 2016
Upcoming shows:
Theater Winkelwiese, Zurich
Friday, November 18. 2016
Saturday, November 19. 2016
Thursday, November 24. 2016
Friday, November 25. 2016
Saturday, November 26. 2016
Ballhaus Ost, Berlin
March 1.-5. 2017
With Anne Haug, Bärbel Schwarz, Julius Feldmaier, Fabian Stumm
Written by Ariane Koch
Directed by Zino Wey
Production Design by Moïra Gilliéron
Production Management by Franziska Schmidt
Light Design / Technical Management by Thomas Kohler
Sound Design by Susanne Affolter
Running time: approx. 70 mins
A les artistes dépressifs production in co-production with Kaserne Basel and Theater Winkelwiese,
Zurich, guest performance at Ballhaus Ost, Berlin
Supported by Fachausschuss Tanz & Theater Basel-Stadt & Basel- Landschaft, Pro Helvetia Schweizer Kulturstiftung, Fondation Nestlé pour l’art, Ernst Göhner Stiftung, GGG Gesellschaft für
das Gute und Gemeinnützige Basel, Futurum Stiftung, Ruth und Paul Wallach Stiftung, Dr. Adolf
Streuli-Stiftung and other benefactors
Gilliéron/Koch/Wey, [email protected], 0049-(0)17684521280
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Presse
Schweizer Radio und Fernsehen - Dagmar Walser, April 2. 2016:
(...) Even though Gilliéron/Koch/Wey have dived deep into their research on the future of
structures and dynamics in a work environment increasingly controlled by computers, machines
and algorithms, they did not turn it into an evening of documentary theatre, creating a world
of experience on stage instead which convinces through the abstraction of it‘s depiction: a look
into the inside of a digital worker of the future. The text by Ariane Koch revolves around the
themes of the working precariat, being human and creativity. It‘s remarkable how singular
the young writer treats her material, and how she generates her textual structure out of this
material. As a whole the evening goes to shows that by reducing to the classical parameters of
theatre - space, performance, text - the complexity of the questioning becomes alive. In any case
one can be glad the theatre workers have not (yet) been replaced by robots and an algorithm to
control laughter and applause by the audience has not yet been found. Click.
Tageswoche Basel - Dominique Spirgi, April 1. 2016
(...) As projected on a screen in the beginning, the theatre makers have been busy shopping at
fiverr.com. Music pieces, songs, text passages right down to a dance choreography. An appealing
starting point for theatrical forensics, with lines accentuated by cryptical wit, for example: „I
will marry an algorithm.“
Yes, this algorithm is ever-present this evening as it is in the world of computers. As a term as
well as a plot somehow, built as an array of single steps causing the physical self to dissolve.
This is cleverly thought through and precisely directed. Single outbursts from this stringent
framework like the dance sequence choreographed via fiverr.com give looseness to the piece,
keeping the evening from becoming overly intellectual. (...) A cryptically playful project by the
three theater makers. (...)
Badische Zeitung - Annette Mahro, April 1. 2016
(...) This time Gilliéron/Koch/Wey take a real gamble with „Homo Digitalis“, working
with outdated current issues and virtual reality running faster and faster ahead of itself.
Depersonalization in the online age comes into focus, users start dancing with their open
laptops, humans turn into machines and computers start to think for themselves: „Humans have
religions, I have silicon.“ (...) In the beginning the huge stage is focused on a room sized box
on wheels which entraps all of the action. A bed, a desk, a chair, a small drawer and of course
a laptop for each performer - what else does the modern human need to live and work? In this
living container the layers superimpose visibly when a young woman is projected onto the back
wall, her words being mouthed simultaneously by others in the box. Whose text is real? And
does the person on the wall really exist or did she only exist at one point? How disposable is the
human being?
Gilliéron/Koch/Wey, [email protected], 0049-(0)17684521280
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Vitas
Gilliéron/Koch/Wey are a free collective based in Basel and Berlin. In addition to their own
individual projects in local theater, off-theater and fine arts they produce work between metaphysics and poetic science fiction, dealing with the subjects of disappearance, humanity and the
prospective past. Apart from Moïra Gilliéron, Ariane Koch and Zino Wey, a loose pool of artist
participates in the group.
Zino Wey (director), born 1988 in Basel, As assistant director at
Münchner Kammerspiele from 2012 to 2014 he worked with such
directors as Alain Platel, Johan Simons, Susanne Kennedy and
repeatedly with Sebastian Nübling. In August 2013 he staged the
play „Mein Enkel 2072“ with Ariane Koch and Moira Gilliéron at
the Treibstoff Theatertage Basel. At Münchner Kammerspiele he
directed Ágota Kristóf‘s play „Die graue Stunde“ (invited to Bayerische
Theatertage 2014) and Magdalena Schrefel‘s „Danke, dass ich jetzt
Ihren Hund halten darf“ for the Lange Nacht der Neuen Dramatik
which won the Audience Award. Since season 14/15 Zino Wey works as a
freelanced director at Münchner Kammerspiele, Schauspielhaus Zurich,
Nationaltheater Mannheim and Kaserne Basel, among others.
Ariane Koch (writer), born 1988 in Basel, studied Fine Arts in Basel
and Bern as well as several semesters of philosophy and theater studies.
She completed the drama processor 13/14, writing the play „Wer ist
Walter“ in the process. The short piece collection „Zukunft Europa“,
co- written with Joël László, was performed in Aarau, Basel, Graz and
Zurich. Ariane Koch also creates performances with Sarina Scheidegger,
shown at Haus der Kulturen der Welt (Berlin), IPA Performance Festival
(Istanbul) and in the gallery X.L.A.M (Voronezh) , and was recently
awarded a grant from the canton Basel-City. In 2014/15 she resided at
Literarisches Colloquium Berlin a number of times and is the publisher
of the art and literature magazine „Lasso“ since 2009. She currently
works as in-house writer at Theater Luzern.
Gilliéron/Koch/Wey, [email protected], 0049-(0)17684521280
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Moïra Gilliéron (Production Design), born 1989, studied scenography
in Zurich and Vienna and worked as assistant production designer at
Maxim Gorki Theater Berlin from 2013 to 2015. The play „Mein Enkel
2072“ by Gilliéron/Koch/Wey was shown at Treibstoff Theatertage
Basel in 2013. She production designed several plays at Maxim Gorki
Theater such as „Es sagt mir nichts, das sogenannte Draussen“ (directed
by Sebastian Nübling), „Aufstand“ (directed by András Dömötör),
„Kritische Masse“ (conducted by Suna Gürler) and „Und dann kam
Mirna“ (directed by Sebastian Nübling). At Staatstheater Braunschweig
she created the production design for „Raus aus dem Swimmingpool,
rein in mein Haifischbecken“ (directed by Anna Fries). Since summer
2015 Moïra Gilliéron works as a freelanced production designer.
Anne Haug (actress), born 1984 in Basel, studied acting at Universität
der Künste Berlin. During her studies she performed in several
productions at Deutsches Theater and Maxim Gorki Theater Berlin
and worked with René Pollesch. From 2009-2011 she was an ensemble
member of Theaterhaus Jena. She has been working as a freelanced
actress for film and theatre in Berlin and Switzerland since 2011.
Currently she can be seen in the plays „Past is Present“ by Corinne
Maier and „Princess & Terrorist“ by Zino Wey/Anne Haug in various
venues and festivals, in „Kings“ at Ballhaus Naunynstraße Berlin and
the film „Männer zeigen Filme, Frauen ihre Brüste“. With her duo
„Projekt Shooriil“ she performs regular late night shows at Sophiensaele
Berlin.
Julius Feldmaier (actor), born 1987, grew up in Berlin. He studied
acting at HfMT Hamburg from 2008 to 2012. His work in the
graduation staging of „Romeo and Juliet“ won him the Studio Hamburg
scholarship. Engagements at Schauspielhaus and Thalia Theater
Hamburg, Schauspielhaus Graz, Maxim Gorki Theater and Volkstheater
Wien followed. The film „Tore tanzt“ was selected for the Cannes
Film Festival 2013. For his performance of Tore Julius Feldmaier was
awarded by Bundesverband Regie and Bundesverband
Schauspiel. Since 2014 he works as a freelanced actor. His latest work
include two episodes of „Tatort“ and „Spreewaldkrimi“. Next up are the
films „Lou Andreas-Salomé“ and „Axolotl Blockbuster“.
Gilliéron/Koch/Wey, [email protected], 0049-(0)17684521280
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Bärbel Schwarz (actress) received her acting diploma at UdK Berlin
in 2005 and completed her bachelor/masters in jazz drums at
Musikhochschule Basel in 2013. She likes to work in different genres of
performance and is a long-time member of the experimental musical
theatre group „leitundlause“. She can be seen as musical performer
and actress at Freilichtspiele Schwäbisch-Hall, as drummer for the
rock trio „Euphoric Elephants“, as mother of gods Fricka in „Ring des
Nibelungen“ at Thalia Theater Hamburg, as heartbreaker Morta in
the light opera „Die Vegane Oper“ in Luzern or currently as mother/
bandleader in „Tag Hicks oder fliegen fur vier“ at Grips Theater
Berlin. She composes music for theatre and is musical director of
several projects including classical and children‘s theatre and trash
performance.
Fabian Stumm (actor), born 1981, studied acting at the Lee Strasberg
Theatre and Film Institute in New York City and has appeared in
numerous film, TV and theatre productions. His film credits include
the mystery thriller „Bela Kiss: Prologue“ by Lucien Förstner, the
award winning second world war drama „Lore“ by Australian director
Cate Shortland and the US-Polish co-production „Otto - My Life Is
A Soundtrack“ by Margarita Jimeno. In 2009 he joined artist Keren
Cytter‘s theatre company D.I.E NOW and performed at Tate Modern
London, The Kitchen New York and HAU Berlin. His next collaboration
with Cytter, the two-hander „Show Real Drama“, was invited around
the world from Shanghai, Beijing and Seoul to London, Chicago and
New York City. Other theatre work include „36 - A Plot‘s Kermesse“ at
Ballhaus Ost Berlin, „ASMR yourself“ at HAU Berlin and Münchner
Kammerspiele and „Nasty Peace“ with copy & waste.
Franziska Schmidt, born 1985 in Leipzig, lives in Basel and Berlin.
She studied European media management at Universität Potsdam and
culture management at Universität Basel. From 2006-2011 she was
director of communication and production at CULTURESCAPES.
She served as production manager for Musikfestival Bern, production
assistant at Mirafilm GmbH, manager of wildwuchs 2013 and direction
and PR assistant at Kunsthaus Baselland. Since 2014 she works as a
freelanced production manager in theatre and dance for Corinne Meier,
Marcel Schwald, Lorenz Nufer, Zino Wey and the group FUX.
Gilliéron/Koch/Wey, [email protected], 0049-(0)17684521280
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