Music Theatre by Sergej Maingardt & Rosi Ulrich

with the ensemble electronic ID: 13. october 2022, 6 pm, Forum Leverkusen Studio / 09. december 2022, 7:30 pm, Filmforum NRW im Museum Ludwig, Köln / 03. april 2023, 7 pm, Bundeskunsthalle Bonn
A production that experiments at the limits of acoustic and visual perception. What about the consciousness and the experience of "reality"?

To determine whether I was living in a simulation, I had to simulate myself. I decided to send a clone of myself on a journey. We both, the clone and I, decided to walk a while together and write down everything we saw, then we separated and wrote down again everything we experienced.

Then we put our notes on top of each other. Our protocols were identical, without deviations. What did we think we would find? What could prove that we live in a simulation? ... If one of us left the system, we could find a proof!

So one of us had to die. But how could we keep in touch?

with: Kai Hufnagel (D) / N.N. (UA)
electronic ID: Sarah Heemann (flute), Tobias Gubesch (clarinet), Matthias Schuller (trombone), Felix Knoblauch (piano/synthesizer), Anna Neubert (violin), Pauline Buss (viola), Rebekka Stephan (violoncello)
Text & dramaturgy: Rosi Ulrich
Composition & Video: Sergej Maingardt

UA: 13.11.2013, 20 h / 25./26./28./30.11.2016, Alte Feuerwache, Köln
WA: 19.10.2019, in Ukrainian language, Liv, Ukraine; 18.11.2019, St. Peter, Cologne, as part of the concert of electronic ID
9. September 2021, Mutabor Club, Moskau
22. November 2021, Deutschlandfunk, Forum Neuer Musik, Radiofestival "Wollen wir den Tod überwinden"
11. Dezember 2021, Kunstpalast Düsseldorf, im Rahmen der Ausstellung "ELECTRO. von Kraftwerk bis Techno
02. Febrary 2022, 5 pm, Moscow Conservatory Centre for Electroacoustic Music
with the ensemble electronic ID: 13. october 2022, 6 pm, Forum Leverkusen Studio / 09. december 2022, 7:30 pm, Filmforum NRW im Museum Ludwig, Köln / 03. april 2023, 7 pm, Bundeskunsthalle Bonn



"... a performance with sucking effect and real expansion of consciousness, with an almost drug-like or almost spiritual soul-raising effect. It goes on a really well timed journey to the limits of perception, to which one should open oneself completely, as far as the inner and outer pain limits are reached, then one experiences oneself as a changed and changeable person, to whom so much is guaranteed, if one endures it, what really ear, body and eye bewitching or deafening works, then a very great experience is given and proportionate, but even if it does not please, then one is ready on the part of the makers with admirably sympathetic openness to face the discussion. You have to look at it, especially since the text and the whole succeed in triggering the questions and also the very big questions in retrospect through a reverberation of the effect and of individual performance elements: Life and death, brain and consciousness, what is real, what is truth, to what extent the character of the stream in the synapses as simulation determines the world, the truth or our consciousness of reality ... The end of effects and consciousness stays open ... very strong applause ... but also skeptical remarks ... I was thrilled, especially since this is a legal drug equal to the cinematic work of art "Koyanisquatsi", which can be purchased for less than 20 euros. And besides, art sometimes has to be an imposition. We have so much official soft-washed art, and who, if not the OFF theatre, can do such a thing and take such a risk." (namkoartist, 17.Nov.13)

"... In this bizarre thunderstorm of acoustic and visual signals, actor Daniel Berger talks about the development of thoughts that transcend all imaginable boundaries. As strange as the stars is the slippery mass shown in the picture, which is comparable to the emergence of an alien. This cocktail of sensory impressions increased by the media has a very intense effect, following the formless states of the real. Of course, there is no room left here for thinking about the construction of thinking. The performance seems more like a blow to the forehead of its viewers than to lead them into the labyrinths of neurology" (Thomas Linden, Kölnische Rundschau 15.Nov.13)

text excerpt


He had to die!

He lay in bed, hospital bed.

I looked into his face

that once had been mine

I didn’t recognized it,

I couldn’t remember

that this is my face,

was my face,

or, once will be?

I bent over him

looked for familiar traces on the sallow surface

Tears ran down my face

I couldn’t find anything known

Appalled, I jumped up

as a deep sigh escaped from the open cave of this mouth.

I couldn’t protect you!

Now you’ve become another,

one that I no longer recognise.

why are you so different to me,

become so different, no?

perhaps always been so.

You have to die now!



Він мусив померти!

Він лежав у ліжку, лікарняному ліжку

Я вдивлявся в його обличчя,

яке колись було моїм

я його не впізнавав.

Я не міг пригадати,

що це і є моє обличчя

було колись моїм обличчям,

чи буде колись моїм обличчям?

Я схилився над ним

шукав на пожовклій шкірі знайомі риси

По моєму обличчю стікали сльози

Я не міг знайти нічого знайомого.

Я перелякано стрепенувся

коли глибоке зітхання вирвалося з глибини цього відкритого рота.

Я не міг тебе захистити!

Ти став іншим, змінився,

я перестав тебе впізнавати.

чому ти так відрізняєшся від мене,

чому ти так змінився?

можливо, ти був таким завжди.

Ти повинен померти зараз!

In the schedule of WEHR51, produced 2013 by the theater-51grad, in cooperation with Freihandelszone - ensemblenetzwerk köln
sponsored by: Ministry of Culture and Science of the State of NRW, Cultural Office of the City of Cologne and the Goethe Institut