Gemeinsam durch eine Zukunft von Wien flanieren: Im neuen Stadtspiel von theaternyx* begeben sich die Besucher_innen auf eine Mut machende Reise. Via Kopfhörer von einer weiblichen Stimme geleitet, hören und sehen sie den urbanen Raum, wie sie ihn noch nicht erlebt haben. Wien im Jahr 2050. Im Gehen öffnen sich Möglichkeitsräume für die Gestaltung der kommenden dreißig Jahre. Wie lässt sich ein nachhaltiges und gerechtes Leben in der Stadt vorstellen? Wie wollen wir miteinander leben?

Während sich die 25 Besucher_innen als Gruppe durch ein utopisches Wien bewegen, tauchen sie in den Soundtrack der zukünftigen Stadt ein – und sie begegnen Stimmen von Menschen, die von einer Vergangenheit und Gegenwart erzählen, welche die Zeitreisenden noch »Zukunft« nennen.

Receptacle is a 3 hour-long durational performance. Each audience member only sees one hour of the work. The performers are inside a small room built in the projektraum. The audience watches into the room from the outside through small windows in an unusual perspective of close proximity to the action. Inside, the performers are engaged in creating what could be described as an abstract narrative. Each performer cannot know what the other performers will do.  The narrative is constructed in real time. The audience hears the sound through headphones. The performers themselves do not hear the same sound. The relation between the sound and the action is casual, as are most of the (apparently) meaningful relations taking place in the room. Consequently most meaning is individually assembled in the mind of the audience.

A receptacle is a container. It contains something.
Looking at any given object we can try to distinguish its outer form from its inner content. Once we separate these two dimensions, we can easily look at the outer form of an object as a receptacle, which contains the inside of the object. If we observe our environments and start to look at things or people as receptacles, a curious phenomenon tends to happen. First our attention goes to the outer dimension/the container, but soon the awareness of the container summons the image of what is contained. Depending on our position in relation to the object, we can only visualize either the outer dimension, or the inner dimension, but not both at the same time. One side is always hidden to us. As a result, we resort to imagining/experiencing what cannot be seen. This imagination is the source for the creation of “receptacle”.

Receptacle is a 3 hour-long durational performance. Each audience member only sees one hour of the work. The performers are inside a small room built in the projektraum. The audience watches into the room from the outside through small windows in an unusual perspective of close proximity to the action. Inside, the performers are engaged in creating what could be described as an abstract narrative. Each performer cannot know what the other performers will do.  The narrative is constructed in real time. The audience hears the sound through headphones. The performers themselves do not hear the same sound. The relation between the sound and the action is casual, as are most of the (apparently) meaningful relations taking place in the room. Consequently most meaning is individually assembled in the mind of the audience.

A receptacle is a container. It contains something.
Looking at any given object we can try to distinguish its outer form from its inner content. Once we separate these two dimensions, we can easily look at the outer form of an object as a receptacle, which contains the inside of the object. If we observe our environments and start to look at things or people as receptacles, a curious phenomenon tends to happen. First our attention goes to the outer dimension/the container, but soon the awareness of the container summons the image of what is contained. Depending on our position in relation to the object, we can only visualize either the outer dimension, or the inner dimension, but not both at the same time. One side is always hidden to us. As a result, we resort to imagining/experiencing what cannot be seen. This imagination is the source for the creation of “receptacle”.

Receptacle is a 3 hour-long durational performance. Each audience member only sees one hour of the work. The performers are inside a small room built in the projektraum. The audience watches into the room from the outside through small windows in an unusual perspective of close proximity to the action. Inside, the performers are engaged in creating what could be described as an abstract narrative. Each performer cannot know what the other performers will do.  The narrative is constructed in real time. The audience hears the sound through headphones. The performers themselves do not hear the same sound. The relation between the sound and the action is casual, as are most of the (apparently) meaningful relations taking place in the room. Consequently most meaning is individually assembled in the mind of the audience.

A receptacle is a container. It contains something.
Looking at any given object we can try to distinguish its outer form from its inner content. Once we separate these two dimensions, we can easily look at the outer form of an object as a receptacle, which contains the inside of the object. If we observe our environments and start to look at things or people as receptacles, a curious phenomenon tends to happen. First our attention goes to the outer dimension/the container, but soon the awareness of the container summons the image of what is contained. Depending on our position in relation to the object, we can only visualize either the outer dimension, or the inner dimension, but not both at the same time. One side is always hidden to us. As a result, we resort to imagining/experiencing what cannot be seen. This imagination is the source for the creation of “receptacle”.

Gemeinsam durch eine Zukunft von Wien flanieren: Im neuen Stadtspiel von theaternyx* begeben sich die Besucher_innen auf eine Mut machende Reise. Via Kopfhörer von einer weiblichen Stimme geleitet, hören und sehen sie den urbanen Raum, wie sie ihn noch nicht erlebt haben. Wien im Jahr 2050. Im Gehen öffnen sich Möglichkeitsräume für die Gestaltung der kommenden dreißig Jahre. Wie lässt sich ein nachhaltiges und gerechtes Leben in der Stadt vorstellen? Wie wollen wir miteinander leben?

Während sich die 25 Besucher_innen als Gruppe durch ein utopisches Wien bewegen, tauchen sie in den Soundtrack der zukünftigen Stadt ein – und sie begegnen Stimmen von Menschen, die von einer Vergangenheit und Gegenwart erzählen, welche die Zeitreisenden noch »Zukunft« nennen.

Receptacle is a 3 hour-long durational performance. Each audience member only sees one hour of the work. The performers are inside a small room built in the projektraum. The audience watches into the room from the outside through small windows in an unusual perspective of close proximity to the action. Inside, the performers are engaged in creating what could be described as an abstract narrative. Each performer cannot know what the other performers will do.  The narrative is constructed in real time. The audience hears the sound through headphones. The performers themselves do not hear the same sound. The relation between the sound and the action is casual, as are most of the (apparently) meaningful relations taking place in the room. Consequently most meaning is individually assembled in the mind of the audience.

A receptacle is a container. It contains something.
Looking at any given object we can try to distinguish its outer form from its inner content. Once we separate these two dimensions, we can easily look at the outer form of an object as a receptacle, which contains the inside of the object. If we observe our environments and start to look at things or people as receptacles, a curious phenomenon tends to happen. First our attention goes to the outer dimension/the container, but soon the awareness of the container summons the image of what is contained. Depending on our position in relation to the object, we can only visualize either the outer dimension, or the inner dimension, but not both at the same time. One side is always hidden to us. As a result, we resort to imagining/experiencing what cannot be seen. This imagination is the source for the creation of “receptacle”.

Receptacle is a 3 hour-long durational performance. Each audience member only sees one hour of the work. The performers are inside a small room built in the projektraum. The audience watches into the room from the outside through small windows in an unusual perspective of close proximity to the action. Inside, the performers are engaged in creating what could be described as an abstract narrative. Each performer cannot know what the other performers will do.  The narrative is constructed in real time. The audience hears the sound through headphones. The performers themselves do not hear the same sound. The relation between the sound and the action is casual, as are most of the (apparently) meaningful relations taking place in the room. Consequently most meaning is individually assembled in the mind of the audience.

A receptacle is a container. It contains something.
Looking at any given object we can try to distinguish its outer form from its inner content. Once we separate these two dimensions, we can easily look at the outer form of an object as a receptacle, which contains the inside of the object. If we observe our environments and start to look at things or people as receptacles, a curious phenomenon tends to happen. First our attention goes to the outer dimension/the container, but soon the awareness of the container summons the image of what is contained. Depending on our position in relation to the object, we can only visualize either the outer dimension, or the inner dimension, but not both at the same time. One side is always hidden to us. As a result, we resort to imagining/experiencing what cannot be seen. This imagination is the source for the creation of “receptacle”.

Receptacle is a 3 hour-long durational performance. Each audience member only sees one hour of the work. The performers are inside a small room built in the projektraum. The audience watches into the room from the outside through small windows in an unusual perspective of close proximity to the action. Inside, the performers are engaged in creating what could be described as an abstract narrative. Each performer cannot know what the other performers will do.  The narrative is constructed in real time. The audience hears the sound through headphones. The performers themselves do not hear the same sound. The relation between the sound and the action is casual, as are most of the (apparently) meaningful relations taking place in the room. Consequently most meaning is individually assembled in the mind of the audience.

A receptacle is a container. It contains something.
Looking at any given object we can try to distinguish its outer form from its inner content. Once we separate these two dimensions, we can easily look at the outer form of an object as a receptacle, which contains the inside of the object. If we observe our environments and start to look at things or people as receptacles, a curious phenomenon tends to happen. First our attention goes to the outer dimension/the container, but soon the awareness of the container summons the image of what is contained. Depending on our position in relation to the object, we can only visualize either the outer dimension, or the inner dimension, but not both at the same time. One side is always hidden to us. As a result, we resort to imagining/experiencing what cannot be seen. This imagination is the source for the creation of “receptacle”.

Gemeinsam durch eine Zukunft von Wien flanieren: Im neuen Stadtspiel von theaternyx* begeben sich die Besucher_innen auf eine Mut machende Reise. Via Kopfhörer von einer weiblichen Stimme geleitet, hören und sehen sie den urbanen Raum, wie sie ihn noch nicht erlebt haben. Wien im Jahr 2050. Im Gehen öffnen sich Möglichkeitsräume für die Gestaltung der kommenden dreißig Jahre. Wie lässt sich ein nachhaltiges und gerechtes Leben in der Stadt vorstellen? Wie wollen wir miteinander leben?

Während sich die 25 Besucher_innen als Gruppe durch ein utopisches Wien bewegen, tauchen sie in den Soundtrack der zukünftigen Stadt ein – und sie begegnen Stimmen von Menschen, die von einer Vergangenheit und Gegenwart erzählen, welche die Zeitreisenden noch »Zukunft« nennen.

Receptacle is a 3 hour-long durational performance. Each audience member only sees one hour of the work. The performers are inside a small room built in the projektraum. The audience watches into the room from the outside through small windows in an unusual perspective of close proximity to the action. Inside, the performers are engaged in creating what could be described as an abstract narrative. Each performer cannot know what the other performers will do.  The narrative is constructed in real time. The audience hears the sound through headphones. The performers themselves do not hear the same sound. The relation between the sound and the action is casual, as are most of the (apparently) meaningful relations taking place in the room. Consequently most meaning is individually assembled in the mind of the audience.

A receptacle is a container. It contains something.
Looking at any given object we can try to distinguish its outer form from its inner content. Once we separate these two dimensions, we can easily look at the outer form of an object as a receptacle, which contains the inside of the object. If we observe our environments and start to look at things or people as receptacles, a curious phenomenon tends to happen. First our attention goes to the outer dimension/the container, but soon the awareness of the container summons the image of what is contained. Depending on our position in relation to the object, we can only visualize either the outer dimension, or the inner dimension, but not both at the same time. One side is always hidden to us. As a result, we resort to imagining/experiencing what cannot be seen. This imagination is the source for the creation of “receptacle”.

Receptacle is a 3 hour-long durational performance. Each audience member only sees one hour of the work. The performers are inside a small room built in the projektraum. The audience watches into the room from the outside through small windows in an unusual perspective of close proximity to the action. Inside, the performers are engaged in creating what could be described as an abstract narrative. Each performer cannot know what the other performers will do.  The narrative is constructed in real time. The audience hears the sound through headphones. The performers themselves do not hear the same sound. The relation between the sound and the action is casual, as are most of the (apparently) meaningful relations taking place in the room. Consequently most meaning is individually assembled in the mind of the audience.

A receptacle is a container. It contains something.
Looking at any given object we can try to distinguish its outer form from its inner content. Once we separate these two dimensions, we can easily look at the outer form of an object as a receptacle, which contains the inside of the object. If we observe our environments and start to look at things or people as receptacles, a curious phenomenon tends to happen. First our attention goes to the outer dimension/the container, but soon the awareness of the container summons the image of what is contained. Depending on our position in relation to the object, we can only visualize either the outer dimension, or the inner dimension, but not both at the same time. One side is always hidden to us. As a result, we resort to imagining/experiencing what cannot be seen. This imagination is the source for the creation of “receptacle”.

Receptacle is a 3 hour-long durational performance. Each audience member only sees one hour of the work. The performers are inside a small room built in the projektraum. The audience watches into the room from the outside through small windows in an unusual perspective of close proximity to the action. Inside, the performers are engaged in creating what could be described as an abstract narrative. Each performer cannot know what the other performers will do.  The narrative is constructed in real time. The audience hears the sound through headphones. The performers themselves do not hear the same sound. The relation between the sound and the action is casual, as are most of the (apparently) meaningful relations taking place in the room. Consequently most meaning is individually assembled in the mind of the audience.

A receptacle is a container. It contains something.
Looking at any given object we can try to distinguish its outer form from its inner content. Once we separate these two dimensions, we can easily look at the outer form of an object as a receptacle, which contains the inside of the object. If we observe our environments and start to look at things or people as receptacles, a curious phenomenon tends to happen. First our attention goes to the outer dimension/the container, but soon the awareness of the container summons the image of what is contained. Depending on our position in relation to the object, we can only visualize either the outer dimension, or the inner dimension, but not both at the same time. One side is always hidden to us. As a result, we resort to imagining/experiencing what cannot be seen. This imagination is the source for the creation of “receptacle”.