So-called high culture and showbiz overlap in the history of theater, one would be inconceivable without the other, the purity of high culture is an illusion. For us, this mechanism of displacement raises central questions that revolve around the general accessibility of stage art: Who should be addressed by stage art in the first place? Which enjoyment of art is to be taken seriously, which is to be shameful guilty pleasure? Where does this separation of art and silly entertainments come from? And: How do the people and stages work that are dedicated to showbiz and entertainment art?
In order to provide a stage for these questions, we are opening ETABLISSEMENT, as a platform for a broad look at the sheds of high culture, in which we include nightlife and genres such as show, circus, revue, travesty, musical and strip. We collect video encounters, audio interviews, texts, and historical artifacts to keep the discussion going about the momentous disconnect between these actually intertwined art forms: etablissement.site.
Furthermore, ETABLISSEMENT is also available as a mobile stage, for public performances and interventions, as a traveling stage and meeting point between U- and E-art: an open structure, easy to set up, quick to dismantle, variable in function and appearance. Please send inquiries for rent, performances or collaborations to email@example.com.
concept and realization: Johannes Müller and Philine Rinnert
Camera and editing: Manuel Kinzer, interviews Johannes Müller, stage: Philine Rinnert
Design: Bram Loss, programming: Leon Weustermann
production management: Sandra Klöss, assistance: Hannah Baumann
supported by the Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media