the pirate copy of a parliamentary session // transcontinental telephone tours // audience members lead by artificial intelligence // a truck as a mobile auditorium // three persons with Tourette syndrome in a piece about unintentionality // 10,000 grasshoppers as the main performers // Karl Marx's “The Capital” as a theatrical text // theatre in a Cloud // the international news as theatre...
Helgard Haug, Stefan Kaegi and Daniel Wetzel founded the theatre-label Rimini Protokoll in 2000 and have since worked in different constellations under this name. Work by work they have expanded the means of the theatre to create new perspectives on reality.
Rimini Protokoll often develop their stage-works, interventions, performative installations and audio plays together with experts who have gained their knowledge and skills beyond the theatre. Furthermore, they like to transpose rooms or social structures into theatrical formats. Many of their works feature interactivity and a playful use of technology.
Hence, Rimini Protokoll declared the “General assembly” of Daimler stock holders a theatre play or with “Call Cutta” and “Call Cutta in a Box” they set up a transatlantic conversation between a worker in an Indian call-centre and each audience member.
With “100% City” they have created a word-wide ever newly contextualising work, where 100 statistically chosen inhabitants of the city gather on a theatre stage. Their production “World Climate Conference” mirrors the drama of the diplomatic efforts for the protection of the earth's atmosphere at the Schauspielhaus Hamburg. For the multiplayer-video-walk “Situation Rooms” they built a hyperrealistic set in which the 20 audience members follow the tracks of people who's biographies have been shaped by weapons.
In “Utopolis” the audience is guided through the city by 48 portable speakers – to set course for shared or contradicting utopias.
“Situation Rooms”, like “Deadline” and “Wallenstein”, was invited to the Berliner Theatertreffen. On top of that, Rimini Protokoll received the Mülheimer Dramatikerpreis for “Karl Marx: Das Kapital, Erster Band”, the German theatre award Faust, the Grand Prix Theatre from the Swiss Federal Office for Culture, the European Theatre Award, the Silver Lion at the Theatre Biennale in Venice, as well as the German Audio Play Award and the War Blinded Audio Play Prize.
Since 2003, the production office of Rimini Protokoll is in Berlin.