heidi weint - eine gefühlsversammlung
ideas and conception:
s. brandes, l. emanuel, d. fell–hernandez, d. gaviria, j. gräfner, n. jahnke,
j. kappauf, j.–c. hieronymus, n. oliel, d. seidel, j. weber, o. thomet, s. winkler, f. wiesner, h. wolff, l. wöllisch
ideas and conception:
s. brandes, l. emanuel, d. fell–hernandez, d. gaviria, j. gräfner, n. jahnke,
j. kappauf, j.–c. hieronymus, n. oliel, d. seidel, j. weber, o. thomet, s. winkler, f. wiesner, h. wolff, l. wöllisch
What if there were room for weakness? What if we allowed ourselves to remain vulnerable? What if we all stood still, breaking free from the endless cycle of commodification and consumption? What if Heidi shed tears?
What if perfection weren’t the goal? What if weakness could exist? Director Nele Jahnke has woven snippets of text—fragmented musings, phrases from the language of body commodification, harmless poetic lines—into a loose foundation for the production, enriched by ideas from the six-member ensemble. On stage, the performers use their bodies, songs, and parodies to explore the central idea. In theory, the theme could have unleashed a wave of anger at the polished, artificial world of reality TV.
Instead, the production opts for something more uplifting: a celebration of not having to function according to rigid norms, of defying expectations. It’s an escape—free, unburdened by the weight of rage.
This inclusive ensemble drives home a vital point: the better, funnier show isn’t the perfect one but the one that embraces its cracks and imperfections. They stammer, dance, and sing, offering an alternative to the glossy façades of perfection.
For this theater based on “germany’s next top model” set in a glistening, slippery world of reality/show, opens up a dialog between the desire to please and the exhaustion of performing. I have composed a fixed media piece for 9 speakers.picking up on this tension, a soundscape with nostalgic pop references in form of whole songs and interpolation, and an equally relatable undercurrents of anxiety, was created.
bellow are the original compositions made for heidi weint. for the purpose of listening, sounds that accompany the piece over an extensive amount of time have been shortened and reassembled into track length.
base tension
our bodies
gabber
aladdin
ghost at the end
