MIT ALICE IN DEN STÄDTEN
The first full-length production of the newly consternated go plastic company is also the artistic conclusion of the “Alice” series, which thematically explored the works of Lewis Carroll.
“That all depends on where you want to go,” replied the cat. “I don’t know about that,” said Alice. “Then it doesn’t matter which way you go,” replied the Cheshire Cat. (Lewis Caroll)
Twelve episodes, twelve musicians, twelve tracks.
Not just a dozen, but twelve signs of the zodiac, twelve-tone music, twelve disciples, twelve brothers. The dancers know what will happen, but not when. The random principle decides on the arrangement of the episodes and thus on the piece.
Lewis Carroll’s Alice stories play an absurd, sometimes satirical game with the logical laws of this world. In the process, a parallel world of quotations, allusions and mathematics emerges that turns things upside down and develops its own laws. The punch line is that this parallel world is closely connected to our own and fulfils one or two facts of reality.
MIT ALICE IN DEN STÄDTEN puts the numerous episodes and sub-stories of the Alice cosmos together in a new context. The absurdity does not necessarily lie in the environment, but much more in the actions and the sequence of events. An aesthetic, dance-like road trip that stops at various places and yet is constantly driven by a search. For what?