09 Oct €AT – Capitalism fair in the bankruptcy hall
In the fourth chapter of its political theater archaeology, Theater Hausruck digs its way from the omnipresence of the economic crisis into the near future of a society that threatens to break apart due to an ever widening income gap.
While in 2009, in “A Hetz oder Die letzten Tage der Menschlichkeit”, Theater Hausruck focused primarily on migration flows, their fateful manifestations and economic causes, in 2010 “€AT” probes the flows of capital, the conditions and effects of the prevailing economic order.
Chris Müller and Georg Schmiedleitner, the artistic directors of Theater Hausruck, work with a team of amateurs and theater professionals to exploit the repertoire of post-dramatic theater forms, but they also see €AT as an educational and discourse project on the subject of capitalism and the global economic order.
Media voices.
“What the unruly theater activists from Hausruck do for the region cannot be valued highly enough.” Edmund Brandner, OÖN
“A constant barrage of metaphors”, Peter Grubmüller, OÖN, 26.07.2010
“Theater full of surprises. The performance ‘€AT’ by Theater Hausruck in the HASAG Halle Attnang-P. broke the boundaries of traditional drama … Lots of applause for a play that drew a maximum of impressions from a panopticon of performances.” Wolfgang Macherhammer, Tips Vöcklabruck, 30/2010
“…Müller and Schmiedleitner … have formed a theatrical intervention force since 2004 that strikes where Austria’s established ensemble houses remain silent. They don’t care about merely parroting text, instead they stage social conditions and attitudes that absolutely have to be dealt with on stage.” Peter Grubmüller, OÖN, 2.7.2010
“The acting and organizational commitment of the participants from Attnang-Puchheim was particularly impressive. Hats off to them!” Vera Rathenböck, Krone Upper Austria, 26.07.2010
“The atmosphere couldn’t be more spooky…. Directors Chris Müller and Georg Schmiedleitner and the Theater Hausruck team present a total work of art that combines the authenticity of amateur actors with the professionalism of trained actors. A dramaturgical achievement that borders on megalomania. Impressive.” Julian Ehrenreich, Neues Volksblatt, 26.07.2010
“The anti-everyman”, Joachim Riedl, Die Zeit, July 29, 2010
