Brown Discharge Day Period Due

always sophisticated. Facial recognition software, fingerprint, iris and body scanners capture the characteristics and data to verify the test system that we really are who we are and represent.

Lukas Bangerter tried using the new Project 13 PLASMA formal overlay of installation / environment with the traditional head-stage.

With new video technology that interacts with the players, receiving impulses from the audience and works in real time, will enter PLASMA a new field in his work, while remaining a consistently close to his own theme: the place of tragedy into comic figures of the last Projects that will in which, among other things on different levels and over again struggled prospect of identity, are now the performers as stewards and hostesses the audience through a hyper-aesthetic world lead, which is in the social tension between politically the required data transparency and systemic secrecy to preserve the internal security is. not only all countries in the world was in the wake of the on Terror

dedicated to the identification of their own citizens, but also companies always want to know more about their employees, the marketing industry uses all possible and imaginable means of digital data acquisition, these

terra incognita to decipher

customer / citizen / human being.

But on this slowly come to doubts: Did for now the identification apparatus nor the summary of the identifiable? Create new identities structural errors here, or is this an unconscious collateral effects of the system itself, which by definition and differentiation in turn created new identities? If this resulting from errors, false conclusions, connections and links 'artificial' identities inherent in the system? Created the system so that the "enemy", the mischief-maker himself, in order to legitimize itself? If the project is hereby

education really shines through on goal and yourself?

"If the object of perhaps a dramatic process," asks one now, and gets the sneaking suspicion that God is a playwright.

ID is a walk-theater project. A three-dimensional tour. A dramatic sculpture.

ID is a co-production with the Theatre

Gessnerallee

in Zurich and in the support group is produced, which has granted the Commission of the Zurich City Theatre PLASMA.

concept, direction, text and stage

Lukas Bangerter

With Helene Hom, Lillian Fritz, Wowo Habdank, Jesko Stubbe music

Jan Ratschko, Martin Wigger

dramaturgy Peter von Salis sets and costumes

Petra Kenneth

light Patrik Rimann Bühnenbau

WALTER STAHL

production Walter Delazer

systems whose technical equipment is becoming increasingly smarter. Facial recognition software, fingerprinting, iris and body scanners record distinguishing features and data in order to verify for the control system that we really are who we are and what we appear to be .

In ID the audience is subjected to an identification process: data is collected, booking numbers are compared, forms stamped and passes issued. The machinery of a bureaucratic ghost train ride past friendly hostesses and busy receptionists is set in motion. The audience members, however, cannot meet the system’s demands as they never present the right form or appropriate identification number and the crucial lists do not contain their names. We are experiencing a dream-like walk through an automated facility; it’s as if we had left the world and were ushered through the registration system of the gates of heaven. And as the system registers and files us, it evokes the question: “Why do I think that I am me and not someone else, and if I lost my ID card and forgot my access code, address, name and biography, would I still be me or would I already - or again - be someone else?

With this new PLASMA Project 13, Lukas Bangerter attempts a formal superposition of installation/environment and proscenium theater. Using a new type of video technology that interacts with the players and receives and processes impulses from the audience in real-time, PLASMA accedes

to a new plane of its work, all the while remaining consistent in its choice of topics: in place of the tragicomical characters of previous projects with their recurring and hopeless struggle for identity on various levels, there are now stewards and hostesses guiding the audience through a hyperaesthetic world located between the social poles of politically necessary data transparency and the inherent secrecy required for the preservation of national security. Does the identification apparatus actually still have a clear view of what it is supposed to identify? Or do structural errors create new identities? Or is this part of the system’s unintentional collateral effect that produces new identities through dissociation and differentiation? “Is there an underlying dramaturgical process?” one asks oneself and begins suspecting that God might be a dramaturg.

ID is a walk-around theater project. A three-dimensional concert. A scenic sculpture. ID

is a coproduction with the

Theaterhaus Gessnerallee in Zurich and is produced with a group program subsidy of the Theaterkommission der Stadt Zürich (theater commission of the city of Zurich) awarded to PLASMA. Written and directed by Lukas Bangerter With Helene Høm, Lilian Fritz, Wowo Habdank, Jesko Stubbe Music Jan Ratschko, Martin Wigger Dramaturgy Peter von Salis Stage design Lukas Bangerter D EcoR and costumes

Petra Kenneth

Lighting

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Patrik Rimann

Set construction

WALTER STAHL Production management

Walter Delazer