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Kaegi, Stefan
Stefan Kaegi (born in 1972 in Switzerland) is a theatre director who, instead of staging dramas, discovers theatricality in everyday life. The approach to his subjects is documentary: what one finally sees on stage are living ready-mades or transplanted experts in the grey zone between reality and fiction, montages of documentary material, theatrical interventions, and real people as experts in special situations.
Stefan Kaegi studied visual arts in Zurich and performance studies at the University of Gießen, Germany. In Argentina, Brazil, Austria, and Poland he worked with local performers in urban contexts, producing motorcycle tours, audio walks, chasing channels, pet ceremonies, or bus trips. His Argentinean piece “Torero Portero” toured Munich (SpielArt Festival), Frankfurt on the Main (Mousonturm), and Berlin (HAU) as well as Bogotá, Rio de Janeiro, and São Paulo. For his paper chase “Skrót: Krakau Files”, the cities of Frankfurt, Gießen, Munich, and Cracow all became stage sets. In 2005, Stefan Kaegi’s mini-train world Mnemopark was awarded the jury prize at the Festival Politik im freien Theater, Berlin – and has been invited to the Avignon Festival in 2006.
In 2000, Stefan Kaegi joined forces with Helgard Haug and Daniel Wetzel in founding the theatre label Rimini Protokoll. Since then they have directed documentary pieces such as “Kreuzworträtsel Boxenstopp” – in which 80-year-old ladies are confronted with Formula 1. For the Deutsches Schauspielhaus in Hamburg they had a crew of funeral masters, graveyard musicians, surgery students, and gravestone manufacturers perform “Deadline”. This piece secured an invitation to the Theatertreffen (Berlin) in 2004. In “Sonde Hannover”, the audience could watch the city as a theatre piece through binoculars. Political furore ensued when they doubled a whole 18-hour-session of the Bundestag live with 200 citizens of the ex-capital Bonn in the piece “Deutschland 2” at the Theater der Welt Festival (2002). In 2004, Rimini Protokoll created “Sabenation” for the Kunsten Festival in Brussels and “Schwarzenbergplatz” for the Burgtheater in Vienna (nominated for the Nestroy prize, 2005). For “Call Cutta” they founded a call centre in Calcutta, India that remote-controlled audiences in Berlin via mobile phone. Kaegi‘s latest works include: “Cameriga” at the Homo Novus Festival Rīga (2005) as well as “Blaiberg und sweetheart19” for the Schauspielhaus Zürich. Throughout 2006, Kaegi will be working on projects in Berlin, Zurich, Sofia, Düsseldorf, and São Paulo.
beteiligt an › Mobile Academy in Warsaw: “Ghosts, Spectres, Phantoms, and the Places Where They Live”
Stefan Kaegi (born in 1972 in Switzerland) is a theatre director who, instead of staging dramas, discovers theatricality in everyday life. The approach to his subjects is documentary: what one finally sees on stage are living ready-mades or transplanted experts in the grey zone between reality and fiction, montages of documentary material, theatrical interventions, and real people as experts in special situations.
Stefan Kaegi studied visual arts in Zurich and performance studies at the University of Gießen, Germany. In Argentina, Brazil, Austria, and Poland he worked with local performers in urban contexts, producing motorcycle tours, audio walks, chasing channels, pet ceremonies, or bus trips. His Argentinean piece “Torero Portero” toured Munich (SpielArt Festival), Frankfurt on the Main (Mousonturm), and Berlin (HAU) as well as Bogotá, Rio de Janeiro, and São Paulo. For his paper chase “Skrót: Krakau Files”, the cities of Frankfurt, Gießen, Munich, and Cracow all became stage sets. In 2005, Stefan Kaegi’s mini-train world Mnemopark was awarded the jury prize at the Festival Politik im freien Theater, Berlin – and has been invited to the Avignon Festival in 2006.
In 2000, Stefan Kaegi joined forces with Helgard Haug and Daniel Wetzel in founding the theatre label Rimini Protokoll. Since then they have directed documentary pieces such as “Kreuzworträtsel Boxenstopp” – in which 80-year-old ladies are confronted with Formula 1. For the Deutsches Schauspielhaus in Hamburg they had a crew of funeral masters, graveyard musicians, surgery students, and gravestone manufacturers perform “Deadline”. This piece secured an invitation to the Theatertreffen (Berlin) in 2004. In “Sonde Hannover”, the audience could watch the city as a theatre piece through binoculars. Political furore ensued when they doubled a whole 18-hour-session of the Bundestag live with 200 citizens of the ex-capital Bonn in the piece “Deutschland 2” at the Theater der Welt Festival (2002). In 2004, Rimini Protokoll created “Sabenation” for the Kunsten Festival in Brussels and “Schwarzenbergplatz” for the Burgtheater in Vienna (nominated for the Nestroy prize, 2005). For “Call Cutta” they founded a call centre in Calcutta, India that remote-controlled audiences in Berlin via mobile phone. Kaegi‘s latest works include: “Cameriga” at the Homo Novus Festival Rīga (2005) as well as “Blaiberg und sweetheart19” for the Schauspielhaus Zürich. Throughout 2006, Kaegi will be working on projects in Berlin, Zurich, Sofia, Düsseldorf, and São Paulo.
beteiligt an › Mobile Academy in Warsaw: “Ghosts, Spectres, Phantoms, and the Places Where They Live”
