Die Tränen meines Vaters: und andere Erzählungen (German Edition)

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We also wanted to make visible the city map of downtown Chicago, which the spider web covers and entraps. The steep stage makes it possible. It also makes it possible to see how actors enter the stage from below. It would not have been as poetic with a flat stage. Was this work as stage director in France also enriching for you? It was a hugely happy time for me. Working in a different language implies that one critically reflects on what one does. Realizing that the tools I like also worked in France and were accepted by the actors, the other people involved, and also the audience, made me extremely happy.

Wann ereignete sich diese Wende? Und welche Filmwissenschaft meine ich? Filmhistorisch gesehen, kann man also kaum behaupten, dass Brechts Arbeit am Film etwas Nennenswertes bewirkte. Das gelang ihm nicht. Die Filmwissenschaft ist eine ziemlich neue akademische Disziplin, zaghaft entstanden in den 60er und 70er Jahren in den USA und Westeuropa. Weltkrieg nicht auf der Tagesordnung. Hier ging es jedoch weniger um Mediendiskurse als um die Ausgrabung und Bewertung der sogenannten Realismus-Debatte der 30er Jahre, die bis dahin in der DDR-Literaturwissenschaft tabuisiert war.

In der Bundesrepublik sah die Situation etwas anders aus. Insofern folgte die Filmwissenschaft der Welle bzw. Wie sich aber herausstellen sollte, war nicht ganz klar, wie die anti-illusionistische Darstellungsweise des epischen Theaters im Medium Film zu verwirklichen war. Wie sollte Brechts anti-mimetischer Realismus medial umgesetzt werden, wenn es um das Kino geht? Jetzt ging es nicht mehr um formale Elemente, sondern um die Politik der Form. Inspiriert von Brecht, ging Godard am weitesten und am konsequentesten diesen Weg der Ablehnung, der Negation und des Antagonismus, um die Mechanismen des Mediums zu entlarven.

Die Diskussionen folgten bis in die 80er Jahre weitgehend denen in Frankreich und in der anglophonen Welt. Unter den Filmemachern entstanden unterschiedliche Gewichtungen und Richtungen in der Folge des Oberhausener Manifests aus dem Jahre , das ein neues deutsches Kino einforderte. Beiden Filmen diente als Vorbild Brechts antimimetischer Realismus: Es hilft nur Gewalt, wo Gewalt herrscht.

In jedem Fall entstanden im Laufe der 70er Jahre viele Filme, die sich an Zielgruppen orientierten — seien es Frauen als Opfer von Gewalt, streikende Arbeiter oder diskriminierte Behinderte — und gesellschaftliche Themen aufnahmen, meistens aber ohne die formalen Gegenstrategien im Sinne von Kluge oder Straub und Huillet. Was war da los? And the rest is history. November fanden die Dramen live und in Farbe statt.

Ich war ein Arbeiterkind. Wie fast alle meine Klassenkameraden. Ohne literarischen, aber auch ohne ideologischen Eifer. Im Kunstunterricht zeigte er, wie man selbst Farben herstellt: Am Ende gab Herr K. Plenums der SED, Widerlegung von pazifistischen Auffassungen!! Herr Jonack stand, mit der Kreide in der Hand, ans Lehrerpult gelehnt und blickte finster in die Runde.

Ich lachte noch immer. Da schwang Herr J. In Deutsch gab es an meiner Schule eigentlich nichts zu lachen. Krieg, Kampf, Waffen, Befehle. Lenins Lob war Aufsatzthema in der 9. Wir kratzten auswendig gelernte Floskeln aufs Papier. Sie waren pathetisch, belehrend, langweilig, humorlos, fern unseres Lebens. Er unterrichtete selten nach Lehrplan, ging stattdessen mit ihnen in Museen, Galerien, Jazz- und Klassikkonzerte, Schriftstellerlesungen und in die Natur.

Er stellte die Resultate ihrer Arbeit in der Aula der Schule aus. Sie war die einzige meiner Klasse, die die Christenlehre besuchte, einen Ingenieur zum Vater hatte und Klavier spielte. Gedichte von Bertolt Brecht. Den Brecht nehmen wir uns vor! Christiane und ich rezitierten die saftigsten Verse. Christiane durfte kein Abitur machen, weil sie nicht in der FDJ war. Auch gegen Eltern, Ausbilder, Vorgesetzte. Wir fanden sie im Lesen, Schreiben, Malen, Theaterspielen. Ich sortierte mir meinen Brecht: Ich hatte etwas aufzuholen und lernte. Seine Kritik — unser Alibi. Seine Sprache, logisch, poetisch, klar.

Sie hatte etwas Strenges wie Heiteres und war, richtig intoniert, ganz rauschlos in Zeiten machtpathetischen Sprachmulms. Ich las und liebte sie nicht weniger als Brecht. In unserer Dorfschule waren lauter Bauernkinder, die haben gesagt: Das geht alles gar nicht, das ist unrealistisch! Ich war schrecklich aufgeregt. Kam mir komisch vor. Theaterzug von Bitterfeld nach Berlin. Mutter Courage mit der Weigel. Fortan war ich Brecht-Fan. Das hat mich interessiert: Der war dort nicht gerne gesehen, war zu oppositionell. Ich sagte ihm, es ist unspielbar. Ich habe sie damals alle in den Topf der Angepassten geworfen: Brecht, Eisler… dennoch war Brecht eine Marke, so etwas wie unser Goethe.

Schon in der Schulzeit wusste ich: Lob des Kommunismus… Berliner Ensemble: Was ihn mir nicht gerade empfahl. Meine Mutter deutete vorsichtig an: Kein Jahrgang ohne Brecht! Dabei galt Brecht in der DDR als problematisch. Die Weisheit des Volkes sah er nicht in der Folgsamkeit, sondern im denkenden Menschen. Die Antworten wurden gleich mitgegeben. Es kam nun auf den Lehrer an, wie er seinen Beruf verstand. Einige Lehrer taten dies. Viele Lehrer taten dies nicht.

Doch nach wie vor fanden die wirklichen Begegnungen mit Brecht nicht in, sondern vor der Schule statt. Brecht hat Bewegung verursacht. Die Schule allerdings war mehr Bremsklotz als Motor. Er hat Wirkung gezeigt. Trading Brass with Brecht: Towards an Ecorealist Theatre. We stand on the brink of a new aeon. A new geological age defined by human activity is on the verge of official recognition.

Working as an art writer in Berlin between and , I observed that progressive visual and performance artists were often working in, with or towards a theatrical idiom. In this sense it is indebted to Brecht. That is why I am developing an adaptation of the Messingkauf that brings together visual and performance art on stage within a theatre production, invoking perspectives from visual and performance art for a theatre for the twenty-first century as Brecht invoked the dramaturg, actor and actress for the twentieth.

Unlike the Organon , the Messingkauf is designed to take place as performance and, as such, shares the ritual quality associated with performance art. It was intended to bring a new world into being. Empire and Science are one; the conquest of nature by human reason and land by technology are inextricable. The rendering of the pillars appears to prophesy the smokestacks of industrial capital. Small plants growing in the earth at the foot of the pillars are dwarfed by their upward thrust.

It was a model of the universe that held man as its centre. Unlike heliocentrism which the scientific age would dispel, anthropocentrism was its founding architecture. As Carolyn Merchant has shown, this anthropocentrism proceeds out of a patriarchal impetus to master a nature construed as feminine.

Other metaphors allude to rape and torture. Illuminated by the reality of climate change, the root of the cultural crisis registered by 20 th century avant-gardes becomes clear: On first reading the Messingkauf in , I wrote, without knowing really what it meant: The ambition of this project is to bring together works of visual and performance art in a staging of Messingkauf as rewritten in workshops with actors, curators and visual and performance artists. As Marcus Gabriel, has pointed out, not only does a gluon tell you very little about the nature of the carbon atom of which it is a component; the notion of a carbon atom itself is a scientific abstraction that never appears in isolate, but only as a component of a larger object — whether a human body, a lump of coal or a Big Mac.

However, it evidences a continued anthropocentric bias and a failure to recognize that it is not human activity as such, but the activity of a culture, class and ideology that has ruthlessly pursued global dominance. There are other approaches. Posthumanisms instead offer alternative models of thinking which go beyond a focus on human life and are rooted in ecology.

This reconfiguration of the essentialized, sovereign, rational Enlightenment subject forces changes in how we see and understand. New forms of thinking subjectivity, agency and, indeed, thought itself, challenge anthropocentric universalism and focus the need for an ontological shift. The subject is to be pried out of the shell-being it has inhabited since the division of nature and culture. Alternative, process-driven subjectivities are favoured instead, genders are queered, subjects fractured and alliances formed with non-humans.

These nomadic lives [13] have found their way into performance and curation and artists and curators have informed such thinking. What begins with a joke unfolds as a ritual. A philosopher walks into a theatre. He has heard that the theatre people have been engaged in a project to create a theatre for the scientific age. And theatre has suffered losses on all sides. The ritual is performed — as rituals generally are — to remedy a social ill. Indeed, this impulse turns out to be the signal error that installed the missteps Brecht diagnoses.

Ritual or ceremonial functions mark out a space of reverence for non-human objects among human bodies. It accords mystery, invites silence, opens up a space for understanding causes and processes concurrent in multiple temporalities and invokes hierophanies of eternal return. Until now, this realization has remained within the tendentially object-oriented territories of visual art. An ecorealist theatre insists that human bodies —even characters — may express more-than-human relations and objects may enjoy territories of being that were hitherto occupied by humans.

For artists and audience alike, these processes of collective making and interpretation of work liberate intuitive and thanaterotic impulses in healthful directions. These new forms begin the work of re-knitting culture with nature-as-ecology and collapsing distinction between subject and object, human and more-than-human. It opens the possibility of a truly sceptical theatre, predicated on a radical uncertainty, collapsing hierarchies into black holes that are horizontal in their spread and infinite in depth.

But the age we are in is no longer defined so much by scientific discovery [15] as by ecological response — rising sea levels, tsunamis, freak climactic events, and sinkholes opening up beneath sites of concentrated human activity — as if the earth were to swallow us whole. Finding the forms that grapple with the overwhelming concurrency of current and past events will be a responsive as well as a generative process.

It will require us to go beyond psychological narrative, foregrounding techniques such as repetition, concurrency and duration. The vision of redemptive political revolution is no longer enough. In seeking new points of entry to the Messingkauf , the Actress emerges as priestess of the threshold. She stands between the old theatre and the new, between philosopher and theatre folk, between theatre and society, illusion and reality.

She is a liminal figure, a vessel, a woman who stands to mediate the community of men. It is she who has brought the philosopher to the theatre, she who is committed to a theatre for a social function. As high-ranking courtesan, the hetaera was the only class of woman — an extra-marital sexual and intellectual companion — permitted to attend a symposium of men.

But there is more to hetaerae than this. As Leslie Kurke states: The erotic energy of the hetaerae is the sine qua non of generative thought, the oxygen without which the flame of debate cannot burn. It is notable that the word for prostitute and prophetess coincide in many languages, finding commonality in their reference to holes, caves, graves and portals of other kinds: In the absence of active participation of the actress, conversation between men onstage is aerated with references to brothels and peep shows.

Women in theatre and other arts often find themselves put in the shade by male colleagues and lovers. They steal from women. The philosopher might be turned into a woman for the adaptation and agency extended to the actress. Or actress and actor might be collapsed into a single character.

It may, however, be more interesting to inhabit that tension, rather than chasing comforting resolutions in the crude politics of representation. Discovering what such theatre might look like began with translation as a site of communion with Brecht. These areas of friction — science and nature, the nature of reality and representation in the twenty-first century, the problem of the actress, and the need for a return from the separation of reality and aesthetics that have characterized modernity.

I have sought to frame those insights through research, but the project proceeds intuitively and responsively. In combination with research these techniques permit us to draw on the archetypal energies, and responsive processes that humans share with plants, animals and other objects, foregoing the temptation to stamp characters with our own identities, and enabling matrixed collaboration.

In workshops forthcoming this fall, I will work with actors to finalize the script. The next stage will be to run further workshops involving a performance artist and a curator to explore new kinds of representation. Similar experiments have already begun to take place elsewhere. Within the main selection of Theatertreffen 17 several shows used techniques of sampling and looping The Borderline Procession , dir.

The ecorealist stage is fitted to helping us come to terms with a reality in which human agency is increasingly subject to hidden forces, whether rising ocean levels, complex financial instruments, or our own behaviours, scripted by algorithms that have taught us to accomplish their ends. This new stage takes seriously the injunction of object-oriented ontologists and political activists [21] for art to open a space for utopian futures. We rediscover the lessons of indigenous cultures: In every object to which being is granted, we discover the infinity that once belonged solely to the white, male, rational human subject.

Sam Williams is a theatremaker and writer. She is currently a visiting lecturer in theatre criticism and dramaturgy at the Royal Central School of Speech and Drama. Making Kin in the Chthulucene Moore, Capitalism in the Web of Life Columbia University Press, A Symposium on the Symposium, , Oxford. Continental Materialism and Realism, eds. Naomi Klein speaking at the Bristol Festival of ideas: But the time I spent in Skovsbostrand made me feel like I was part of the photographs that I have been researching in books and archives.

Some of my questions were answered and new questions arose. Much has been written about the Brechtian exile, but for me it was different because I longed for my own personal experience. Skovsbostrand is known as an inspiring and peaceful place. Brecht lived on the island during one of the most productive periods of his life. In addition, he began writing his Journals. He travelled to several countries, met friends and collaborators and started collecting material from newspapers and magazines for his controversial Kriegsfibel.

The weather was lovely in Svendborg. It was sunny, sometimes windy. But most significantly, there was something on that island that I had waited a long time to find: It has the most powerful energy: In the Svendborg Poems , Brecht immortalized chestnut trees, plum trees and pear trees. The house, which was bought with royalties from Threepenny Opera, has not changed much.

How did they deal with the lack of rooms? The house was not big: Bertolt and Helene were living there with their children Barbara and Stefan. There remained a few final questions: What has really changed after 80 years? What are our reasons? The experience of a deliberate exile brought me the inspiration I was searching for, but some questions remain unanswered. Nevertheless, they are not so important now. He settled in California, where he allied with several other German expatriates who had become Hollywood personalities, including screenwriter Fritz Lang and playwright Lion Feuchtwanger.

HUAC was a committee of the United States House of Representatives that investigated and prosecuted private citizens and organizations alleged to have Communist ties. Brecht was summoned to appear before a HUAC panel for a round of questioning concerning his collaborative projects in Hollywood.

Brecht was the 11th person of interest to appear before the panelists on October 30, Mitchell is an American filmmaker, screenwriter, producer, and cinematographer who has been in the film industry for over 20 years. Witness 11 was his directorial debut. Witness 11 debuted in and was screened at numerous film festivals, including the Whitaker St. Louis International Film Festival and the Mt. Hood Independent Film Festival in Oregon. The distinguished late theater professor Carl Weber of Stanford University, a former assistant director to Brecht, served as an advisor on the film.

Although mostly self-financed, the film was additionally supported by the Berkeley Film Foundation and a Kickstarter campaign. Of these protagonists, three are most well-known for the horror of their experience: These protagonists struggle to regain a foothold following the maelstrom of confusion that befalls them. The film begins with a dispute in the HUAC interrogation hall.

If they admit being affiliated with the Communist Party, they must inevitably implicate their comrades. All three witnesses choose ethics over legality and are swiftly imprisoned. In the novella, Josef K. In the yearlong ordeal that ensues, he struggles to prove his innocence before a mysterious court, and to bring the court to its knees for its own wrongdoings. After a series of bizarre events and deceptive maneuvers by the crooked court, and numerous horrifying visits to the uncanny, disorienting space of the courtroom, K. Of course, their fate is less gruesome than that of their literary counterpart; but nonetheless, their gross suffering at the hands of the Committee is undeniable.

This is where Brecht deviates from the group. Unlike Trumbo et al. Realizing he cannot sway HUAC, Brecht gives up all effort to do so, and instead develops an alternative plan. It will prove potent over the course of his cross-examination. Upon entering the interrogation hall, Brecht gazes with an air of astonishment around the room; unlike K.

Das ist ein Theater. The seats in the room are also partitioned into sections by a central aisle, mimicking the seating scheme of a theater hall. The restless audience, the flashing of cameras, and the mob of nearby reporters make Brecht feel right at home. Barely repressing his sudden surge of excitement, Brecht begins to approach the panel of interrogators. As Brecht steps out before them, the Committee members bellow out a medley of declarations, including an outright denunciation of the previous 10 witnesses: The effect is that the lettering on the placards appears to underscore the words of the Committee members—what the Committee really means is: Not unlike the corrupt court in The Trial , they are not truly motivated by a quest to uphold the law as they profess to be.

The man continues to wait at the door for days and then years, until finally he dies. In Witness 11 , the Committee members are exemplars of the shrewd doorkeeper who deploys deception to bend the man in the parable to his will. Instead, he seizes justice where he is offered none. When Brecht is questioned by the Committee, he flatly denies being a member of the Communist Party. The representatives nonetheless detain Brecht and continue to interrogate him. He becomes a trickster. When Committee member John Parnell Thomas arrogantly picks up his cigar, Brecht mirrors this act, only with added panache.

By the time he exhales, he has become a completely different person. With a look of unalloyed confidence, Brecht leans into his microphone and begins to address his interrogators. To the repeated question of whether he was ever invited to a Communist Party meeting, Brecht avows: Brecht, who was not versed in the law and was a complete novice to interrogations, is now somehow able to beat the Committee members at their own game, and effortlessly so. Brecht is not wearing a business suit in order to endear himself to the Committee; he is wearing it to become them, to assimilate their knack for deception and, in so doing, outsmart them.

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They promptly erupt in laughter, pandemonium breaks out, and the Committee head frantically calls for order in the room. What you do is struggle against this with all of your equipment, with whatever you have. Brecht mocks their lack of command of English grammar, advising them to consult their German translator to help them assess the English translations of his writings. The Committee closes the cross-examination by prompting Brecht for a statement that will give them cause to release him rather than detain him: In this definitive moment, Brecht has finally eluded their tyranny.

This film seems to take the latter view. This is reflected in the way he approaches the interrogations as such, adapting himself to the farce in order to dismantle it. Tachyon Publications, , Accessed December 20, Schocken, , It relates the story of an impoverished girl played by Dani Tucker who, after being orphaned, is relegated to the care of her abusive and exploitative aunts. The aunts conspire to marry her off for their own benefit to a much older, physically repulsive neighbor.

As her only means of escaping this cruel future, the girl reluctantly accepts a marriage offer from a manipulative and psychologically abuse pawnbroker played by Tom Dacey with whom she had previous interactions. Although the pawnbroker tends toward manipulative and egocentric tendencies, he also exhibits authentically human contradictions, revealing for example compassion to the girl by offering her more for the goods she pawned than market value and proposing marriage to her after hearing about her situation with the aunts and neighbor. Contradictions like these demonstrate nicely the psychological complexity typical of a Dostoevsky character and establish a humanistic side to the pawnbroker which serves as a basis of redemptive potential in him.

Initially, it seems as if the girl may find meaning in a life with the pawnbroker. For example, she begins to find fulfillment and a sense of purpose in helping to run the pawn business. However, when her new husband discovers her exhibiting the same type of compassion toward customers he once showed toward her, he forbids her from working in the pawnshop any longer. Now, lacking a means of developing a sense of self-worth, she seeks recognition through intellectual conversation with a male companion.

However, after finding out about this, the pawnbroker begins to keep her prisoner in the house, effectively denying her any means of forming her own identity. This act is obviously an escape from the house which represents her physical captivity. In short, these things have worked to leave her with virtually no agency, subject to forces outside of her control. They leave her unrecognized, incapable of defining herself. Suicide is her only chance at a self-directed, albeit truncated future. It is the only choice that can be truly her own. This lack of recognition haunts the play as a lurking brutality which hangs in the air, in some ways more menacing than the threat of physical violence which lies in the subtext.

For example, the young lady is never mentioned by name in the play, denied even this minimal amount of recognition. She also has few lines to reveal herself and this relative silence looms large and uneasy on stage. In this silence, she created a character who somehow maintains a youthful optimism, playfulness, even coquettishness which agonizingly erodes under the persistent wind of the fate which has fallen upon her. This is particularly true of the girl who finds herself positioned through no fault of her own in a situation which gives the external appearance of available choices but upon closer inspection presents only the illusion of choice.

She can either be abused and exploited by her aunts, the neighbor or the pawnbroker. Real world examples abound still, in our time: In fact, there are other decidedly Brechtian elements in this production as well. For example, Djukic employs some Brecht-esque estrangement effects, most notably abrupt changes in the narrative voice of the characters. The voices, at times move from that of first person characters actively engaged in playing out the story, to third person narrators distinct from the character.

The actors divest themselves of their original character for moments and assume the role of detached observers who comment on the actions which have transpired. This gives the audience some release from the emotional enthrallment which threatens a cerebral engagement with the events being portrayed. This move and others like it create opportunities for a starker, more intellectualized and rational understanding of what is being represented on stage. They give the audience the chance to step back and think critically about what they are seeing so that they can, in the end, pronounce judgement.

In the final analysis, the story being told was a brooding, weighty one about the callous alienation of a woman from her whole self, made possible by unjust socio-economic factors and their corollary—male domination. Yet, during some of the bleakest dialogue between the pawnbroker and the girl, dialogue where the pawnbroker uses his social position to leverage things from the girl and the girl in turn begins to capitulate, realizing the nature of her limited agency—her enslavement—quite a few in the audience laughed as if they were watching a romantic comedy.

Perhaps the depiction of a woman-object so completely at the whim of external forces, so thoroughly deprived of ego is such a common literary device that some in the audience were unable to notice that something very sinister and preventable was going on.

Indeed, this is often the way romantic comedies develop. The woman serves not as a complete human character but an object for the possession of the male pursuer. In these cases, the woman character is often swept up in the machinations of others just as we saw happen to the girl in this play. It is likely that those who laughed are so accustomed to observing women in roles like this in cultural representations and in real life that for them it has become something quotidian, taken-for-granted and virtually unrecognizable. It thus resists critical reflection and judgement through the shine of a naturalized veneer.

If this is the case, the play may have missed its mark with this subset of the audience. Nevertheless, my theater companions and I certainly understood right away what Djukic was up to, and I personally was impressed with many of the ways he chose to do it. The laughter on the part of some in the audience, if it is indeed an indication of their inability to critically engage with the horrible consequences of unjust socio-economic orders and blatant sexism, is itself an indictment of the social world we live in and the way that world is typically represented to us.

Far from being the result of a shortcoming of the play itself, this misguided laughter and the worldview from which it stems are a tragic indication of exactly what this play is up against and discloses, undoubtedly, the need for it at this time. Indeed, Brechtian Gestus shapes the whole production: Consequently, the acting is of a very corporeal, fast, and playful nature. For this purpose, Peter McKintosh has turned the Donmar Warehouse upside down, creating an immersive design in which auditorium and stage melt into each other.

Simultaneously, though, and fascinatingly, this particular scene turned into a spontaneous exercise in resistance, with certain audience members refusing to stand up for Arturo Ui. She spent her childhood at the Berliner Ensemble and received her actor training under the guidance of Helene Weigel. The actors perform on a steep stage whose floor depicts a map of downtown Chicago.

A movable spider web is suspended over the stage. It symbolizes the cynical interplay between predators and victims, and the progressive entanglements of the leaders and inhabitants of Chicago and Cicero as Arturo Ui and his henchmen take hold of the cauliflower trust through coercion, manipulation, and racket. The rise of Ui also means the downfall of the surrounding characters who find themselves on the slippery slope of compromise and corruption.

The circus music, the montage of scenic tableaux as well as the musical and dance interludes evoke the atmosphere of popular theater, cabaret, and expressionist films as well as gangster movies. Arturo Ui—interpreted brilliantly by Laurent Stocker—appears as an irascible disarticulated puppet that combines bullish behavior with narcissistic susceptibility, and cowardice with a reckless thirst for recognition and longing for respectability.

His attempts at self-control more than once turn into vociferous ranting, deluge of threats, tantrum-like behavior, and even occasional barking. Yet the slapstick and grand-guignol do not diminish the somber undercurrent in the play. Behind the laughter, shrill voices, dissonant music, and clownish grins lurks ruthless violence. Protestors are silenced through threats, intimidation, or summary execution.

The warehouse fire trial turns into a judicial farce. The gunshots keep getting louder as a potent reminder of the exponential spiral of violence. As a matter of fact, the audience never loses sight of the historical background. Signs throughout the play that are often displayed in a fanciful fashion remind the audience of the historical events in Germany.

By staging his play in Chicago and writing it initially with an American audience in mind, Brecht sought to explore the ties between fascism and capitalism, and to draw attention to the analogies between Nazism and organized crime. More importantly, however, the play staged by Katharina Thalbach emphasizes the theatricality inherent to the exercise of power as well as the deep connections between politics and spectacle.

This narrative becomes so invasive that it turns the real world into a resounding board in which facts are tweaked, manipulated, or plainly fabricated. Life of Galileo at the Young Vic. I am convinced that you have to be clear about who you are and what you stand for as a company. Self-confidence and the right partners at your side are crucial for your success. Believe in yourself, your ideas and stay uncompromising in your mindset and convictions. At the same time, remember to stay agile in your actions on your path to creating a successful brand. Der Weg von deiner Idee zur bedeutungsvollen Marke.

Glaubt an euch und eure Idee und seid in eurer Haltung kompromisslos, bleibt aber gleichzeitig auf dem Weg zur erfolgreichen Marke in den notwendigen Handlungen agil. After having worked as a strategic planner in an agency and as a brand consultant, she felt her apprenticeship years were now complete: She was looking for more freedom and self-determination than possible in any corporate context.

Her passion for strategy and brands has always paved her way and it feels wonderful to finally announce to have founded her own company together with Michele Schmitt and to lead this company according to their own beliefs. It took me some time and likeminded people to discover that having my own mind and convictions is a strength; just like a strong brand I am uncompromising in what I stand for.

I am eager to work with disruptors, rebels, crazy dreamers and visionaries: Founding your own business is time-consuming. Nothing is ever really finished and that feels strange, especially for me I love ticking off to-do-lists. Another kind of flow can be achieved by tackling challenges with ease and flexibility without losing sight of the big picture. As a brand strategist I am convinced that it is the brand.

We live in times of saturated markets when consumers already own everything they need, so nobody cares really about any product which can always be copied. Instead, people buy what they identify with and what gives their lives meaning! Be really clear about your goal and your attitude and never let others knock you off course. Clarity, consistency and an uncompromising approach have positive side-effects: Because people know what to expect, the right partners, customers and ultimately employees , will find their way to you automatically. This saves time, money and energy.

What is vital is to know exactly what distinguishes us from other startup hotspots and to stay true to ourselves. Es gibt schon alles und wir haben schon alles. Menschen kaufen Marken, mit denen sie sich identifizieren: Seid von Beginn an ganz klar, was euer Ziel und eure Haltung ist und lasst euch davon nicht abbringen; habt keine Angst zu polarisieren! Klarheit, Konsequenz und Kompromisslosigkeit haben den positiven Nebeneffekt, dass dadurch die passenden Partner, Kunden und letztlich Mitarbeiter zu euch finden. Das spart Zeit, Geld und Energie. Als Ruhrpottkind im Exil beobachte ich die Entwicklung gebannt.

So wie ich die Menschen im Pott wahrnehme, sind uns die besten Voraussetzungen in die Wiege gelegt: How to stay focused despite setbacks and headwinds! Adrian Rouzbeh is a self-made entrepreneur, entrepreneur, coach, martial artist and speaker. Since he regularly holds seminars and lectures, among other things as a lecturer for his own innovative company PHP.

Adrian Rouzbeh successfully mastered the initial difficulties of establishing a non-existent market. Today, his company has several locations and helps hundreds of people — young and old — and companies achieve their goals. He also lectures regularly at universities and schools. He also travels to various trade fairs and speaks to companies or advises them. He raised his own company without outside capital, partners, investors or the like — and at a young age: Adrian Rouzbeh was born in and was already regarded at the age of 22 as a sovereign leader who successfully brings his team and his concepts to their goal.

Heute hat sein Unternehmen mehrere Standorte und hilft hunderten Menschen — von jung bis alt — sowie Firmen bei deren Zielerreichung. The innovation evangelist and digitization expert has many years of project and management experience in DAX companies. In addition to partnerships, she is also responsible for workshops and training sessions at the Impact Hub Ruhr.

The graduate business economist, communication scientist M. Innovations are an alliance with the future. Developing the future together with different people drives me.

Issue 2: 2017

To think visionary and not be completely besieged by day-to-day business. Perseverance and openness for changes to the so beloved original idea, if the customers need something else. Put ideas through their paces with customers as quickly as possible and learn from them. The cereals are no longer bought just online, but also in their own shops, several countries and supermarkets.

Max Wittrock is Chief Evangelist at mymuesli and is primarily responsible for public relations. What I mean by that: I am interested in very many things and I am happy that we and I in our job, as founders, to try a lot and are flexible in our roles. We have become much more mature as a startup and company; this is super and important. But of course, there are very different challenges for a larger company than with three friends sitting together with an idea in the shared kitchen.

Above all, I would like to give something to those who are about to set up. You have to try it! I recently got to know masterplan. Die diplomierte Betriebswirtin, Kommunikations-wissenschaftlerin M. Das gemeinsame Entwickeln der Zukunft mit unterschiedlichen Menschen treibt mich an. Es ist Zeit die Startup Revolution Ruhr zu starten. April , ist mymuesli heute auf mehr als Mitarbeiter angewachsen: Was ich damit meine: Man muss es ausprobieren! Ohne es auszuprobieren, wird man nie wissen, ob es funktioniert. Da gibt es aber sicher eine ganze Menge, klar. Deswegen find ich es super, mit so einem Event auf die Region aufmerksam zu machen.

Anna Yona actually wanted to become a journalist. Or preferably both at the same time. Since February the barefoot shoes are available in their online shop Wildling. Walk the first steps in relatively unknown territory, tame wild growth and build structures that will last. A true USP, a strong brand identity and an abnormal portion of optimism and resilience. Be unique and solve a real, existing problem! Ulrike Trenz is co-founder of the Impact Hub Ruhr and is responsible for room booking, space design and strategic exchange with the global impact hub network.

In the Ruhrgebiet, she is committed to increasing the visibility of topics such as social entrepreneurship and social innovation as the key to social and environmental challenges.

The greatest potential she sees at the interfaces of various disciplines and industries that must collaborate to build a sustainable future. The Impact Hub Ruhr represents a perfect hub for her. Ulrike has a business education and a degree in cultural studies at the FH Potsdam. After exciting study projects at the interdisciplinary interfaces to culture, economics and sustainability, she was a graduate student in futurology at Daimler AG.

Because I always followed my gut feeling. I always made sure that I do, what makes sense to me most. I am convinced that human beings are meaningful driven people which only can develop to their fullest when they realize the purpose of their actions. Doing the right things at the right time.

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A team you can rely on. I truly believe in collaboration on eye level — which btw also means same loans for bosses and team! Find and sharpen its own profile. Integrating social entrepreneurship and promoting responsible entrepreneurship to build a region fit for our grandchildren. After completing his doctorate in number theory, Dr. On the one hand because of my interest in technology and building things and on the other hand because I enjoy working with ambitious people.

To find the right mix of breadth and depth in order to help founders the best way possible. A strong team with relevant expertise, customer focus, execution skills and motivation. Other factors are important, too, though: To have an opportunity-oriented mindset, to be focused when working on achieving goals, but also to regularly reflect on past performance and to be open for change. I see a big chance to grow to one of the most relevant startup scenes through the proximity of several larger cities Dortmund, Bochum, Essen….

Janna Prager is co-founder of the Impact Hub Ruhr, where she is responsible for community building and community management. She organizes events and is the first contact for the member experience in the Impact Hub Ruhr. She is also responsible for all online and offline communication and press relations.

In addition to music, they are also interested in topics such as new forms of work and the promotion and networking of female founders. It is important to me that I do a job that makes sense and in which I can make a difference. Here I can implement new projects together with the community, bring together great and committed people from the region and help to tackle social challenges.

And of course there is no shortage of fun. To manage everything I want to implement. Besides the idea, the team is crucial. I think you have to get along well outside work, too. This makes difficult phases easier and you generally have more fun at work. Connect and take every opportunity to present your startup on a stage. The structure is still partly under construction, but this can be seen as an opportunity. Carsten Maschmeyer is an entrepreneur, consultant, investor and author. All its activities are bundled under the strategic umbrella of the Maschmeyer Group.

Carsten Maschmeyer is also the inventor of independent financial consulting. He has been married to the actress Veronica Ferres since From to , he advised innovation- and technology-driven start-ups for the win Business Angels Initiative of NRW. BANK in order to bring them together with private investors. All my life I have played various sports with a lot of ambition. This has influenced me, both privately and professionally.

Maintain a clear USP with a variety of support offers for entrepreneurs. In addition to a unique product and attractive market, the founding team is the decisive success factor for me. The staying power until the successful foundation. A great potential that is now being tapped further and further. I always want to make the next step and the best time for it is always when the success is greatest.

Doing a good job every day anew. They need knowledge, passion, attitude, diligence and the brutal will to be successful. A culture of failure. A great potential which should finally be lifted. Berat Gider studied and worked in Dortmund, New Orleans and Berlin with a focus on innovation management. BANK since and helps scientists to form start-ups from their technologies and to become capable of investing in them. My grandfather was an entrepreneur to me. His greatest venture was a new life as a miner in the Ruhr area. To bring entrepreneurship into the world of science.

A solid financing, because Disruption has its price. Like their football clubs, I see them in the Champions League in the future. Hungrier than we saturated ex- pioneers. The engine of our economy needs fuel, in the form of ideas, implementation speed and the leading light — radical rethinking! To make an uncompromising decision and thus maximize your own resistance, enthusiasm and implementation speed. To name clearly what we stand for and to make it possible to experience it through our attention to detail and special strategic refinement.

From the existing with minimal optimizations to achieve the greatest possible effect. The credible embodiment of knowledge, which is why it is a privilege to be right here and now. To straighten out the existing suffering line in the companies and to change it into a guideline. Mostly it is the convenience or the activation of motivation. If you want everyone to like you, no one will like you in the end. So my question is, what are you standing against? More than 5 million people live in the Ruhr area. Energy and potential for new businesses as well as thousands of new customers, right?

Then get up every day and activate your energy and potential. Added value for society? On the side, this is always possible when anger or courage drive you to act. How to build Digital Communities. She began her career in marketing and event management 10 years ago, working mainly in professional football and culture.

In Nora Breuker founded Female Founders From Fat to Finish Line in America and today runs one of the most successful and largest international running communities. I more or less slipped into community management. When I was very unhappy with my life and my job, I joined my current community as a member. A year later I quit my job, packed my things and travelled through 23 states in the USA. There I only stayed with members of the community and got to know my current co-founders. Together we decided to make a startup out of the raw treasure we were sitting on with the already existing community.

Because of my closeness to our members and my marketing background I took over the management of the community relatively quickly. Community management is still a young profession, although communities have existed for a long time and especially in Germany and Europe we still have a lot of catching up to do. It is my wish to bring more companies and people closer to the meaning and the possibilities of communities.

Since I am building up a startup as well as working as a digital marketing strategist in a full-time job during the day, I am actually busy around the clock. In addition, last year I started to talk to many companies and other founders about community management and now I am helping them to incorporate this in their businesses. Time management is therefore always a great challenge and part of that includes taking care of myself. From a professional point of view, no two community days are alike and I always face many challenges. How do I measure the success of my community?

How do I market new products skilfully without decimating the member experience? As a community manager you are a colorful mixture of strategist, marketer, judge, therapist, best friend, leader and public order officer. It never gets boring. To know exactly what you actually want to achieve with the company and who my target group is. You should have a plan, even if the parameters and the plan itself are constantly changing. Knowing where you want to go and what your goals are is very important in my opinion.

This makes it easier to work towards something and to measure yourself better. A good idea alone is not enough. Do you own thing. Founding is difficult, hard, challenging, sweaty, nerve-wracking. But it is also fulfilling, exciting and extremely personality enhancing. If you are in it with your heart and mind, it can change everything.

As a true Ruhrpott child, I love that the Ruhr area is slowly developing into an innovative, exciting place. I like to be here and enjoy the startup scene. It is even more down-to-earth than Berlin or LA and you get to know each other relatively quickly. Let the world see that we are good in more than coal and steel. Benedikt Brester is co-founder of the Impact Hub Ruhr and is responsible for the programmes in addition to the finances.

As a project developer, he works with partners and customers to develop programs such as Hackathons, start-up programmes or summer schools and new products. As a coach, he is involved in the workshop programme of the Impact Hub Ruhr, especially in the area of business model innovation. I know from previous jobs the landscape around funding projects well. To me, a long-term perspective of good ideas was always important, especially beyond public funding. This gap closes the Impact Hub network in locations by making good ideas work as enterprises.

At the Impact Hub Ruhr, we are working to realize sustainable and socially effective business start-ups and to support companies in digital and sustainable change processes with our mindset. This combination gives me the charm of my work, and I am happy to be able to work with dedicated people every day — whether start-up or employees of companies. To concretize the many resulting project and programme ideas and to bring them to implementation with partners. For me, this is internal communication: Make yourself aware of the social and ecological impact you have and could have.

I think it is a little early to talk about a startup region, as there are many local individual initiatives. The Ruhr Summit is an essential part on the way to the regional startup identity. The Impact Hub Ruhr is very happy to support regional initiatives. Before becoming an entrepreneur, Mr. Bilski was multiple German swimming champion and part of the national squad.

He also holds a Master of Science in Management. Why did you become what you are today? As a former professional swimmer, it was always important for me to be among the frontrunners. I combine passion with performance and therefore strive for the best. Especially in the FinTech sector, this mentality is worth its weight in gold, as many things change rapidly due to technological change, and the competition never sleeps.

Blockchain technology is developing rapidly, and paying via blockchain will become a mass movement.

Teaser Gewinnspiel

The winner is whoever can transfer money the fastest, i. For many young Fintechs it is therefore a question of optimizing speed and effectiveness. In your opinion what is the crucial factor for a successful startup, and why? The focus should be on the customer. But it also depends on implementation. What piece of advice would you give any startup, and why? It takes a lot of passion; you must never lose it. Even if you sometimes have to pull yourself together and fight your way through.

Naturally, you have to prepare for such situations and also show mental strength. Of course, it is also important to have clear goals in mind and to work on them. Back then, we wanted to have one of the fastest IPOs in the world — and we implemented it. How do you see the Ruhr Valley startup scene? The startup scene in the Ruhr region is still in its early stage, but a lot is happening. Not surprisingly, because the Ruhr Valley location, with its numerous companies and universities, is excellently suited to young founders.

The areas of environmental technology and logistics in particular show potential in the Ruhr Valley. We can look forward to further developments. Your personal wish for the Ruhr region? Startup-Life is a pitch! Nils Beckmann has been working as a communications trainer since With his company Pitch and Grow, the conversational linguist trains pitches with start-ups, builds teams of consultants and develops new formats with multipliers.

As a friend of new ideas, he is enthusiastic about people who dare to implement such entrepreneurial ideas. Since my days at the university i worked as a consultant and did workshops at universities and worked with different companies. I tried to figure out, where i would fit and where my competences would be most useful. In i started to work on pitches.

And i discovered that a good pitch can give you the edge to pass through bottlenecks in your developement. And i discovered my own flaws which held me back at the beginning of my business as a consultant. At the end oft he day a good pitch can make the difference between a cool idea and a growing business. The transfer of Knowledge. Over the last couple of years i developed a method for pitches. And now i want to build a team and pass on this knowledge.

A good network of people who put trust in your idea. Espacially when your idea works b2b. Alongside with conervsion rates and followers a recommendation seems a bit old school but this really opens up opportunities. So get in touch with key-accounts early and pitch them your idea. You are the price.

At the beginning you need a lot oft hings from other people money, time, contacts, advice but at the end oft he day you got at least an idea. And this is worth something. So you should not fullfill the role of an petitioner. If you do so, you will seem tob e needy — but those who sell their ideas with some confidence will be treated as business partners. I like the relaxed and open minded people here. Espacially because they never forget that we are doing business here.

And i love it, that the different cities work together to make the ruhr area a great place for startups. Fuck Turnover — warum echte Visionen nicht messbar sind! Anna Yona wollte eigentlich Journalistin werden. Oder am besten beides gleichzeitig. Ein echtes Alleinstellungsmerkmal, eine starke Marke und eine anormale Portion Optimismus und Ausdauer. Die richtigen Dingen zum richtigen Zeitpunkt zu tun. Ein Team, auf das man sich verlassen kann. Es gibt aber auch viele andere Faktoren: Mir ist es wichtig, dass ich eine Arbeit mache, die Sinn macht und bei der ich etwas bewirken kann.

Hier kann ich gemeinsam mit der Community neue Projekte umsetzen, tolle und engagierte Macher aus der Region zusammenbringen und dabei mitwirken gesellschaftliche Herausforderungen anzugehen. Neben der Idee ist das Team entscheidend. Die Struktur ist zwar teilweise noch im Aufbau, aber das kann man ja als Chance sehen.

Seit ist er mit der Schauspielerin Veronica Ferres verheiratet. Deshalb stelle ich immer wieder alles in Frage und beginne immer wieder komplett neues. Eine Kultur des Scheiterns. BANK innovations- und technologiegetriebene Start-ups beraten, um diese mit Privatinvestoren zusammenzubringen. Ich habe schon mein Leben lang verschiedene Sportarten mit viel Ehrgeiz betrieben. Das Unternehmertum in die Welt der Wissenschaftler zu bringen. Eine solide Finanzierung, da Disruption seinen Preis hat. Die gesamte Strategie vom Kundennutzen her betrachten.

Meist es ist die Bequemlichkeit oder die Aktivierung von Motivation. Noch nicht einmal Dir selbst. Nebenberuflich geht das immer, wenn die Wut oder der Mut Dich antreiben zu handeln. Ins Community Management bin ich mehr oder weniger reingerutscht. Community Management ist immer noch ein junger Beruf, obwohl es Communities schon lange gibt und gerade in Deutschland bzw. Europa haben wir hier noch extremen Nachholbedarf. Das beinhaltet auch auf mich Acht zu geben, dass ich nicht ausbrenne. Beruflich gesehen ist gerade bei Communities kein Tag wie der andere und bietet mir immer viele Herausforderungen.

Wie messe ich wie erfolgreich meine Community ist? Wie vermarkte ich neue Produkt geschickt, ohne die Mitgliedererfahrung zu dezimieren? Es wird nie langweilig. So kann man besser darauf hinarbeiten und sich auch erfolgreich messen. Eine gute Idee alleine reicht nicht aus. Als echtes Ruhrpottkind liebe ich es, dass sich das Ruhrgebiet langsam zu einem innovativen, aufregenden Ort entwickelt. Ich bin gerne hier in der Startup Szene unterwegs. Es ist aufregend wie viel sich hier gerade tut und wie viel wir hier schaffen und erschaffen.

Die vielen sich ergebenden Projekt- und Programmideen zu konkretisieren und mit Partnern zur Umsetzung zu bringen. Ich verbinde Leidenschaft mit dem Leistungsprinzip und strebe daher nach dem Besten. Die Blockchain-Technologie entwickelt sich rasant und Bezahlen per Blockchain wird zur Massenbewegung werden.

Dann gewinnt, wer das Geld am schnellsten transferieren kann, wer also die schnellsten Server und Algorithmen hat. Der Fokus sollte auf dem Kunden liegen. Das Ziel sollte es sein, etwas aufzubauen, was das Leben der Menschen einfacher oder besser macht. Es kommt aber auch auf die Umsetzung an. Beim Product-Building ist es z. Die Startup Szene befindet sich im Ruhrgebiet noch ganz am Anfang, aber es tut sich einiges. Man kann auf die weitere Entwicklung gespannt sein.

Seit ist Nils Beckmann als Kommunikationstrainer unterwegs. Als Freund von neuen Ideen begeistern ihn Menschen, die sich trauen, solche unternehmerisch umzusetzen. Trainer war ich schon immer. Also schon im Studium. Hab dann viel geschaut, wo ich hinpasse, habe an Unis und in Unternehmen trainiert.

Am Ende des Tages kann ein guter Pitch den Unterschied zwischen einer guten Idee und einem wachsenden Business machen. Du bist der Preis! Und die ist etwas wert. Daher solltet ihr euch nicht in die Rolle von Bittstellern begeben. Es passiert viel und es ist immer was los. Yaron Carni — Maverick Ventures. Zuvor arbeitete er u. Lilach Danewitz — iAngels. Andrea Blome ist Journalistin, Moderatorin und Kommunikationsberaterin. Fliegauf — On Purpose. On Purpose ist eine Gemeinschaft, die Sinn vor Gewinn setzt und ambitionierten Intra- und Entrepreneuren dabei hilft sinnstiftende Arbeit zu finden.

Arbeit, die sie begesitert. Anna Roth-Bunting — Talents4Good. Anne van Eijsden — On the Rocks. Anne founded On The Rocks in late The company designs Rockbooks, notebooks from revolutionary stonepaper. Daraus ist die Jobsharingplattform Tandemply entstanden. Tandemploy glaubt an Arbeit, die ins Leben passt.

Was der Wandel von Businessmodellen bewirkt, wird in diesem prominent besetzten Panel diskutiert. Torsten Schreiber — Africa GreenTec. Mehr als Millionen Menschen auf dem afrikanischen Kontinent leben ohne Stromanschluss. Ressourcenknappheit, Wetterextreme und Naturkatastrophen: Diese und andere Fragen werden hier im prominent besetzten Panel diskutiert. Markus Sauerhammer — Startnext. We all know that social startups hardly have any budget to spend on marketing and communications. So how can you utilise free or low-budget opportunities for marketing your product or service?

In this workshop we will explore ways to work together with other social startups as well as creating meaningful content for online media in order to push your brand. This workshop is most suitable for people who have already founded a startup and those who are working for social startups as founders or in the communications department.

Andreas Renner — Certified B Corporation. Hans Reitz — Grameen Creative Lab. Heute begleitet er Prof. Lutz Mehlhorn — Mehlhorn Concept. Niklas Manhart — Prof.

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