Theater is an ephemeral art form and lives in the moment. With the last silenced sound or word, the extinguishing of lights and the cessation of movement, all appearances on stage are gone. “Underneath the singing is death, is emptiness, and only from this comes brilliance,” said Heiner Müller. On the one hand, with the transience of theatrical experience, we also experience our own mortality; on the other hand, we assert ourselves against disappearance with the power of our imagination, create new realities, new spaces, and allow thoughts to emerge that we thought long forgotten or that lie in the future. The project The Karlsson Magnet focuses on the subjective perception of time as well as on the representation and experience of time in different media. In the play with mediatedness, the attempt is made to represent time in the form of simultaneity, standstill, elongation, and visualization, to make it tangible in real terms or to (re)produce it.
The starting point for the piece is the radio play text by Lorenz Langenegger. Through its musically shaped language, it opens up spaces for universal questions about the beginning and the end: In which world do we want to live and love? What narratives do we create for ourselves of the world? Is there more than one, perhaps even an infinite number? Where does everything begin? And what comes after the end? Do we prefer to dig in the past and make the long gone resound? Does it need a big bang in the end, so that another, new world can arise?
Karlsson’s magnet creates a game with repetitions of fragile, temporary spaces and thus refers to a perception of the world that is always subjectively constructed.
Translated with www.DeepL.com/Translator (free version)