A conversation with Stefan Kaegi

2011 - In Lectures, Writing & more

A conversation with Stefan Kaegi

Stefan Kaegi
- conversation and artist presentation

Tuesday 15 November 2011 at 21:00 at Kafe Knøderen
BIT Teatergarasjen


An evening with Stefan Kaegi from Rimini Protokoll. Rimini Protokoll is often announced as the inventors of a new form of documentary theatre, exploring a theatre of performers who are not professional actors but experts or specialists out of their particular spheres of life – professionals of a theatre of the real world. Rimini Protokoll consists, besides Kaegi, of Helgard Haug and Daniel Wetzel, who in various constellations have made theater-related work, live art, pieces for radio and installations together since 1999.

“Rimini Protokoll brings real life to the stage in a way that no other theatre form has been able to. The unmistakable strength of these performances lies above all in the fact that in spite of the proximity to the persons whom they portray a rift appears between the role and the personality, and with it an awareness of the risk, that life could gain the upper hand, and theatre could lose control over itself” (from Frankfurter Rundschau).

A conversation with Stefan Kaegi

2011 - In Lectures, Writing & more

A conversation with Stefan Kaegi

Stefan Kaegi
- conversation and artist presentation

Tuesday 15 November 2011 at 21:00 at Kafe Knøderen
BIT Teatergarasjen


An evening with Stefan Kaegi from Rimini Protokoll. Rimini Protokoll is often announced as the inventors of a new form of documentary theatre, exploring a theatre of performers who are not professional actors but experts or specialists out of their particular spheres of life – professionals of a theatre of the real world. Rimini Protokoll consists, besides Kaegi, of Helgard Haug and Daniel Wetzel, who in various constellations have made theater-related work, live art, pieces for radio and installations together since 1999.

“Rimini Protokoll brings real life to the stage in a way that no other theatre form has been able to. The unmistakable strength of these performances lies above all in the fact that in spite of the proximity to the persons whom they portray a rift appears between the role and the personality, and with it an awareness of the risk, that life could gain the upper hand, and theatre could lose control over itself” (from Frankfurter Rundschau).