“I am resolved to die; but this/ I wish/ to do with honour, dismissing from me all that is base”. (Euripides)
Iphigenia, the pure one, the virgin. She makes her way to the sacrificial altar. Her blood must flow. – The consequence of a situation with no way out; the entire Greek army is stuck in the Bay of Aulis. A lack of wind is hindering the fleet's exit. The reason for this is the wrath of the goddess Artemis, who now demands, through an oracle, that the Greek commander Agamemnon sacrifice his first-born: Iphigenia. The pure one. The virgin. The perfect sacrifice. She agrees to this death sentence freely. She bows to her fate. The girl's pure blood is the price tag for the war against Troy. For this she wishes to die, she will die for Greece. For the fatherland. In return, eternal praise – the beautiful glory of the tame. That's how we still know her today: Iphigenia. The incarnation of insight, chastity, the sublimation of desire and urges. The archetype of the female victim. Such humility is even rewarded by the Greek goddesses: The knife is already at Iphigenia's throat when the goddess Artemis saves her at the very last second – crash, bam – through rapture into exile, to the island of Tauris where she makes her a temple priestess. Phew. Now what? Her family is far away, her job's rather tedious, there's nothing to do on the island. No prospects, nothing but loneliness. Wow. Wait a minute. Something miraculous just happened here. Is there an opportunity in the metaphysics of the rapture? How much power and relevance does the voice of the enraptured Iphigenia have? How much resistance can be found in the bored, drunk, unshaven, gluttonous, permanently horny female body? What's clear is that, after Aeschylus, Euripides, Racine, Schiller and Goethe, it's time for a chain-smoking, unwashed global icon whose crotch smells of brie. “Like an old penis, the male perspective has been sucked dry.” [Stefanie Sargnagel]
A neo-mythological diptych in an adaptation by Lucia Bihler, Teresa Schergaut and Hannah Schünemann
With texts from Iphigenie in Aulis by Euripides, in the translation by Soeren Voima, and Binge Living, Fitness, Statusmeldungen and In der Zukunft sind wir alle tot von Stefanie Sargnagel.
With: Paulina Alpen, Jella Haase, Amal Keller, Vanessa Loibl, Emma Rönnebeck, Teresa Schergaut, Susanne Wolff
Musicians: Silke Eberhard (Karola Elßner), Anke Lucks (Tanja Becker), Lizzy Scharnofske
Idea and concept: Lucia Bihler und Theresa Schergaut
Director: Lucia Bihler
Artistic advisor: Sonja Laaser
Music: Jacob Suske
Choreography and artistic advisor: Mats Suthoff
Stage design: Jana Wassong
Costumes: Leonie Falke
Lighting: Kevin Sock
Dramaturgy: Hannah Schünemann
Deutsch mit englischen Übertiteln.