In this performance, the protagonist is not a professional dancer nor an actor, but a non-trained animal: the donkey Balthazar. On stage, he confronts a group of human performers. The piece emerges from this active communication between different species.
The human performers try to grasp the animal by constructing meaningful narratives, movements, gestures, and images. The animal, on the other hand, undercuts constantly these attempts to define him, and rather pulls the whole performance into a process of becoming animal.
Balthazar seduces us, its audience, into identifying with the animal, when we know that our projections can only be inadequate. We may assume that the donkey is complying with the performance, that Balthazar develops it further using artistic means. The point is: We don’t know! And we never will.
Balthazar is a long term artistic research project by theatre maker David Weber-Krebs, and dramaturg and theorist Maximilian Haas, that explores our cultural relationship with animals using the means of theater. Previously to the “touring version” three research versions of the piece have been made in Amsterdam, Brussels and Hamburg, in collaboration with local art schools and international festivals.
- concept & direction
- david weber-krebs
- concept & dramaturgy
- maximilian haas
- julien bruneau, alondra castellanos arreola, philipp enders, sid van oerle, noha ramadan
- ebba fransén waldhör
- space advice
- alexander schellow
- elisabeth hirner/infinite endings
- HAU hebbel am ufer, next festival, inteatro, mousonturm