Opening concert »Só un solo«: 19.00 hours. Opening concert »Nothing is real?«: 20.30 hours.

Every two years, the association realtime – forum neue musik organizes a festival for New Music in Bremen. This year, Spain is the guest country of the festival, which revolves around the theme of »Reality – Illusion – Vision«. The double concert opens the five-day festival. www.realtime-bremen.de.

SÓ UN SOLO
Mario Cortizo, percussion, electronics, text. In cooperation with the Instituto Cervantes Bremen and the Spanish Embassy in Berlin.
What defines modern life? - How many things actually accumulate in our daily lives? And why do we tolerate the noise of the world? Mario Cortizo provides answers in his solo performance – in a witty, unusual, and musical way. Everyday objects like a hairdryer, frying pan, or iron become musical instruments in his hands and communicate with marimba and percussion. But that’s not all: Cortizo philosophizes about the chaos of our world, speaks directly with the objects, and takes the audience on a journey full of surprising insights and sounds.
The realization he reaches on stage and together with the audience will become evident after an exciting forty-five minutes, for which the musician received the Galician Music Prize in 2023.

NOTHING IS REAL?
Claudia Janet Birkholz, piano. Erik Wälz, video projection. Malte Oppermann, words. Works:Jésus Torres: Semejante a la noche (2013)
Alvin Lucier: Nothing is real (Strawberry Fields Forever) 1990 Xiaosheng Zhao: Tai-Chi (1987) Georg Friedrich Haas: A shadow play for piano and live electronics (2004)
How does the world appear to us? In how many spaces and dimensions do we perceive it? Pianist Claudia Janet Birkholz plays in her piano concert with the fictional and real landscapes that surround us here and now in the concert hall. Combined with the images of video artist Erik Wälz and the thoughts of Malte Oppermann, who is regarded as a young and exciting discovery of the present, this concert is an experience that equally challenges both the mind and the heart. Oppermann raises the questions we all ponder: What is real? And what if everything is just an illusion?
Featuring works by Jésus Torres, Alvin Lucier, Xiaosheng Zhao, and Georg Friedrich Haas.

Book: Gardi Hutter, Michael Vogel + Play: Gardi Hutter. Direction: Michael Vogel (Artist. Director Family Flöz). Composition: Neda Cainero. Music: Neda Cainero, Pino Basile, Juri Cainero. Registration: Theo Bernardi. Costume: Valentina Rinaldi, Melanie Kuhl. Wig: Nina Kleine. Light design: N.N. Graphic: Stephan Bundi. Photo: N.N. Assistance: N.N. Co-produced with: Theaterhaus Stuttgart, Casinotheater Zug.

Hanna, the clownish alter ego of Gardi Hutter, has told comical stories about failure in nine pieces from different workshops – whether laundry woman, witch, mouse, secretary, circus clown, showwoman, prompter, seamstress - all find a tragically comical end. Only topped in the last piece, Gaia Gaudi: after a joyful decay, Clown Hanna disappears into a suitcase and is thrown out of the world.
Now she floats as a ghost in empty space. Quasi in distilled form. Quasi as essence. Quasi. – The great failure – or the great freedom? Gardi Hutter wants to continue to fantasize right here and create her tenth piece together with Michael Vogel. Everything about nothing.

ZERO
Actress and director stand in the empty space and rummage through nothingness. No thing, just wave. When no stage design provides a stable basis, pure imagination must create the spaces. And when words do not establish clarity, feeling can wander in the ambivalent.
Characters reinvent themselves and disappear. Dramas emerge and explode. Laughter leaps high and fades away. To become and to cease, to bloom and to wither, to create and to destroy, to give birth and to kill. We are all born and then, at some point, dead. Memento mori – like hypnotized, we gaze at our end, striving for art, philosophy, religion, science - and yet cannot change it. Instead of looking at life from the end, we want to consider it in ZERO from the beginning. Our focus lies on birthing, creating, in the act of creation: how does something come from nothing. From 0 a 1.
The act of birth is hardly present in art, and when it is, the child is already washed and on the mother’s arm. The epic of the hero also tells of the battlefield, not of the birthing bed. Although we were undoubtedly present at our conception, we have no idea how something became what was not there before: plop, here I AM! This popping up of ideas, images, chains of association, red threads – is the stuff from which theater is made. Something is there and is not there. Everything is just play. Is shared fake. The common emotional experience is nonetheless real because the audience vivifies their own inner images. They suffer with, they laugh, they allow themselves to be touched – and enchanted.