\u00bb Gloucester: When shall we come to the top of that same hill? <\/p>\n\n\n\n Concept, implementation: <\/strong>Hanke Wilsmann, Jost von Harle\u00dfem, Rupert Jaud Shows<\/strong> A production by F. Wiesel in cooperation with the Roxy Birsfelden<\/a> and the Mousonturm Frankfurt<\/a>. \"And be it because it demonstrates to the viewer with extremely simple means what it means to build an entire world in 15 minutes. And how little it takes. After all, the scene, set and plot, once entered into the universe unfolded with nothing but narrative means, are initially created in the audience's head. Until one puts on the VR glasses and stands for the next quarter of an hour in the middle of the virtual mountains instead of in the project room of the Atelierfrankfurt. [...] A prospectus in essence with majestically towering mountains, a chalet perhaps, a mountain stream and a picturesque waterfall plunging into the depths almost as if on holiday. Only recognizably not quite real. So what? Nevertheless, here you believe it immediately. And that's the point. This has always been the case in the works of Jost von Harle\u00dfem and Hanke Wilsmann, who have been questioning the illusion machine of theater in a highly entertaining way [under the moniker] F. Wiesel since their student days together in Giessen. What drives it, what makes it tick and what holds it together at its core. With its own means, which sometimes oscillate between stage, installation and radio play. In short, what theater is still capable of even in times of virtual realities. [...] The water rises until we seemingly drown, while the virtual stage space of the Holodeck becomes bitterly cold for the next 1000 years. And yet, no doubt: when one day all the waters recede, the theatre starts all over again.\"<\/p>\nExploring the world - F. Wiesel's \"Flintridge\" at Atelierfrankfurt \"You are in the middle of it [...] in a world that is clearly not ours but nevertheless seems incredibly real, because it forms an entire reality through the VR glasses. [...] This idea of doom, of the Flood, of drought, of climate catastrophe is very present. But you also have to deal incredibly with yourself and your own imagination and how this imagination is animated and triggered.\"<\/p>\nIm Kopf von Max Frisch \u2013 HR2 Fr\u00fchkritik<\/a> \/ Ulrich Sonnenschein 22.11.2021<\/cite><\/blockquote>\n\n\n\n \"An art experience unlikely to anything that you have yet experienced. [...] For the artists, it was a chance to work on something new at a time of limited live performances. You can expect large sets, effects, machines, wind and weather. [...] They aim to illustrate the nature of the environment beyond the human being. And this environment is not seen in relation to mankind, but rather as it exists by itself to be taken seriously.\"<\/p>\nAnnouncement Radio X Basel<\/a> \/ Tim Meyer 22.01.2022<\/em><\/cite><\/blockquote>\n\n\n\n \u00abGelungen: Virtual Reality in der neuen \u201eKonsole\u201c [\u2026] Entlang von Max Frischs Protokoll eines Pers\u00f6nlichkeitszerfalls in der Erz\u00e4hlung \u201eDer Mensch erscheint im Holoz\u00e4n\u201c und William Crowthers prototypischem Computerspiel \u201eColossal Cave Adventure\u201c von 1976 untersucht das Theaterkollektiv F. Wiesel in seiner Mixed- Reality-Installation \u201eFlintridge\/Der Mensch erscheint im Holodeck\u201c Sinn und Nutzen gespeicherter Information, aber auch die Macht der Imagination. Von der profitieren Theater und Computerspiel gleicherma\u00dfen. Und sollte der Nachweis n\u00f6tig sein, dass die Science Fiction theatertauglich ist, er w\u00e4re hiermit erbracht.\u00bb<\/p>\nTiefgefrorene Salamander \/ Ute Baumhackl, Kleine Zeitung Steiermark 03.10.2023<\/cite><\/blockquote>\n\n\n\n A room in an isolated mountain village in Ticino. A storm that lasts for days cuts the village off from the environment. And as the water rises, the wind flees through the mountains. And then?<\/p>","protected":false},"author":1,"featured_media":718,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,6],"tags":[],"class_list":["post-473","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-allgemein","category-startpage"],"_links":{"self":[{"href":"https:\/\/flinkwiesel.de\/en\/wp-json\/wp\/v2\/posts\/473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/flinkwiesel.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/flinkwiesel.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/flinkwiesel.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/flinkwiesel.de\/en\/wp-json\/wp\/v2\/comments?post=473"}],"version-history":[{"count":52,"href":"https:\/\/flinkwiesel.de\/en\/wp-json\/wp\/v2\/posts\/473\/revisions"}],"predecessor-version":[{"id":1052,"href":"https:\/\/flinkwiesel.de\/en\/wp-json\/wp\/v2\/posts\/473\/revisions\/1052"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/flinkwiesel.de\/en\/wp-json\/wp\/v2\/media\/718"}],"wp:attachment":[{"href":"https:\/\/flinkwiesel.de\/en\/wp-json\/wp\/v2\/media?parent=473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/flinkwiesel.de\/en\/wp-json\/wp\/v2\/categories?post=473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/flinkwiesel.de\/en\/wp-json\/wp\/v2\/tags?post=473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Edgar: You do climb up it now: look, how we labour.
Gloucester: Methinks the ground is even.
Edgar: Horrible steep. Hark, do you hear the sea?
Gloucester: No, truly.
Edgar: Why, then, your other senses grow imperfect by your eyes’ anguish.
Gloucester: So may it be, indeed. \u00ab<\/p>\nWilliam Shakespeare. King Lear, 4.6.2-10<\/cite><\/blockquote>\n\n\n\n![\"\"](\"http:\/\/flinkwiesel.de\/wp-content\/uploads\/sites\/4\/2021\/06\/Holodeck-5279-1-scaled.jpg\")
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n
Collaboration Digital Art:<\/strong> Paula Reissig
Narrator: <\/strong>Ana Berkenhoff
Interaction-Design: <\/strong>Robert L\u00e4\u00dfig
Programming:<\/strong> Benedikt G\u00f6pfert, Jan Godde
Production Management: <\/strong>Heidrun Schlegel<\/p>\n\n\n\n
18.-25. Nov 2021 Atelierfrankfurt<\/a> \/ Mousonturm<\/a>, Frankfurt
14.-22. Jan 2022 Roxy Birsfelden<\/a>
17.-10. M\u00e4rz 2022 Theater Chur<\/a> \/ Digidays
10.-19. M\u00e4rz 2023 Mousonturm<\/a>, Frankfurt
24.09-18.11. 2023 Schauspielhaus Graz<\/a> \/ Konsole
13.\u201316. M\u00e4rz 2024 Schauspielhaus Graz<\/a> \/ Digithalia Festival<\/p>\n\n\n\n
with the kind support of: <\/em>Atelierfrankfurt e.V.<\/a>, <\/em>andpartnersincrime<\/a>
Sponsored by:<\/em> <\/a>Kulturamt der Stadt Frankfurt<\/a>,<\/a><\/em> Hessisches Ministerium f\u00fcr Wissenschaft und Kunst<\/a><\/span> as well as the Fonds Darstellende K\u00fcnste<\/a> aus Mitteln der Beauftragten der Bundesregierung f\u00fcr Kultur und Medien.<\/p>\n\n\n\n
<\/p>\n\n\n\n\n
Christoph Sch\u00fctte \/ FAZ 18.11.2021<\/a><\/cite><\/blockquote>\n\n\n\n\n
\n
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<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n<\/figure>","protected":false},"excerpt":{"rendered":"