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Sie entdecken einen monströsen kollektiven Körper – ein vielarmiges, aus multipler Lunge blasendes, hoch expressives Wesen – und zugleich eine vielstimmige, kreative Gemeinschaft wie sie selbst. Anders als die Performer*innen von She She Pop sind die Musiker*innen allerdings hochspezialisiert und engagieren sich für die gemeinsame Sache streng arbeitsteilig, den Blick abwechselnd fokussiert auf die Person am Dirigierpult oder den Notentext, dessen Schriftzeichen – notiert von einem nie angetasteten Genie – präzise und in korrekter Reihenfolge umzusetzen sind.",[],{"_key":316,"_type":38,"children":317,"markDefs":322,"style":55},"1aeb8f36d710",[318],{"_key":319,"_type":42,"marks":320,"text":321},"a1eb87b2ba04",[],"Woher stammt die Euphorie, die diese besondere kollektive Praxis bei den Beteiligten und Anwesenden offenbar freisetzt? Was ist der Preis? Was ist mit den inneren Widersprüchen, Eigenheiten und besonderen Fähigkeiten - nicht zu reden von den Hemmungen, Unzulänglichkeiten, persönlichen Sorgen und Zweifeln? Wie und wo klingen die?",[],{"_key":324,"_type":38,"children":325,"markDefs":330,"style":55},"c1e68edfd528",[326],{"_key":327,"_type":42,"marks":328,"text":329},"baaf53911d6b",[],"Eine Gemeinsamkeit der beiden Kollektive ist die Leidenschaft zum Experiment, der fragende Blick auf das, was als grundlegende Voraussetzung der jeweiligen Kunst gilt: Wofür genau haben wir uns mit dem Publikum verabredet, wenn wir zum Konzert einladen? Und an welcher Stelle treten wir testweise aus diesem Rahmen heraus? Für dieses Konzert entwickeln wir, neben den musikalische Werken von Diana Syrse, Darius Milhaud und Grazyna Bacewicz, eigene performative Scores, in denen der kollektive Körper des Orchesters und die individuellen Perspektiven der beteiligten Musiker*innen in einen expliziten Dialog treten. 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Nahual\nMusic: Diana Syrse\nText: Zusammenstellung von Tzotzil texts von Diana Syrse, geschrieben von Jorge Miguel Cocom Pech, Enriqueta Lunez, and Briceida Cuevas Cob",[],{"_key":408,"_type":38,"children":409,"markDefs":414,"style":55},"0aaa6023261a",[410],{"_key":411,"_type":42,"marks":412,"text":413},"6df780a6a5d1",[],"2. The Tower of Babel\nMusik und Text: Diana Syrse",[],{"_key":416,"_type":38,"children":417,"markDefs":422,"style":55},"24872aa73685",[418],{"_key":419,"_type":42,"marks":420,"text":421},"d34581214242",[],"3. El Aleph\nMusik: Diana Syrse\nText: Aleksi Barrière",[],{"_key":424,"_type":38,"children":425,"markDefs":429,"style":55},"59aff9448b82",[426],{"_key":419,"_type":42,"marks":427,"text":428},[],"Darius Milhaud - La création du monde (1922/1923)",[],{"_key":431,"_type":38,"children":432,"markDefs":437,"style":55},"97e8619e26bd",[433],{"_key":434,"_type":42,"marks":435,"text":436},"79d23477ecbf",[],"Weitere musikalische Elemente, Videos und Performance",[],{"value":439},[440,448,455,463,471,478,486,493,499,504,509,516,524,532,540,548,556,564,571],{"_key":441,"_type":38,"children":442,"markDefs":447,"style":55},"af54a1a637f3",[443],{"_key":444,"_type":42,"marks":445,"text":446},"461b362deffd",[],"The biennial concert series Frei_Spiel embodies the qualities that define the orchestra and of which the musicians are particularly proud: a bold program that is discussed and decided upon collectively, collaborations with other art forms, and the freedom to playfully engage in artistic experimentation.",[],{"_key":449,"_type":38,"children":450,"markDefs":454,"style":55},"a02e810f6dc2",[451],{"_key":452,"_type":42,"marks":453,"text":305},"3117e2a696af",[],[],{"_key":456,"_type":38,"children":457,"markDefs":462,"style":55},"19e0d9c26132",[458],{"_key":459,"_type":42,"marks":460,"text":461},"efd0781f0bbc",[],"For this production, the performers of the She She Pop collective cast a fascinated gaze upon the Junge Deutsche Philharmonie orchestra. They discover a monstrous collective body—a multi-armed, highly expressive being breathing with multiple lungs—and, at the same time, a polyphonic, creative community much like their own. Unlike the performers of She She Pop, however, the musicians are highly specialized and dedicate themselves to the common cause through a strict division of labor, their gaze alternately focused on the person at the conductor’s podium or the musical score, whose notes—written by an untouchable genius—must be executed precisely and in the correct order.\n",[],{"_key":464,"_type":38,"children":465,"markDefs":470,"style":55},"b677c7829642",[466],{"_key":467,"_type":42,"marks":468,"text":469},"f856391cc777",[],"Where does the euphoria come from that this particular collective practice apparently unleashes in the participants and those present? What is the cost? What about the inner contradictions, idiosyncrasies, and special abilities—not to mention the inhibitions, shortcomings, personal worries, and doubts? How and where do they resonate?",[],{"_key":472,"_type":38,"children":473,"markDefs":477,"style":55},"f53905ddfbb1",[474],{"_key":475,"_type":42,"marks":476,"text":305},"0fb2dd4eeb32",[],[],{"_key":479,"_type":38,"children":480,"markDefs":485,"style":55},"c1e01f90acd9",[481],{"_key":482,"_type":42,"marks":483,"text":484},"1adf13ba58b5",[],"One thing both collectives have in common is a passion for experimentation and a questioning perspective on what is considered a fundamental prerequisite of their respective art forms: What exactly have we agreed upon with the audience when we invite them to a concert? And at what point do we tentatively step outside this framework? For this concert, in addition to the musical works by Diana Syrse, Darius Milhaud, and Grazyna Bacewicz, we are developing our own performative scores in which the collective body of the orchestra and the individual perspectives of the participating musicians enter into an explicit dialogue. 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