Rimini Protocol

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Rimini Protocol (2012)

Rimini Protokoll develop stage plays, interventions, scenic installations and radio plays, often with experts who have tested their knowledge and skills beyond the theater. They translate spaces or social orders into theatrical formats. Much of her work is characterized by interactivity and a playful use of technology.

history

The group consists of Helgard Haug (* 1969), Stefan Kaegi (* 1972) and Daniel Wetzel (* 1969). The three artists studied at the Institute for Applied Theater Studies at the Justus Liebig University in Giessen in the 1990s .

In contrast to the Rimini Protocol by geologist Colin Campbell (2004), the German-Swiss team, which has been using the term Rimini Protocol since 2002, has no political message. It is more of an aesthetic program: the different forms of protocol - as a text genre or as a schedule for staging, for example, international relations - are contrasted with drama as the predominant text form in theater and radio play.

The trademark of their theater and radio projects is the work with so-called experts from reality or specialists : They are theater amateurs who, however, do not appear as amateurs, but as actors themselves and are referred to by the artists as experts or ready-made actors become. The actors do not play a dramatic text, but rather themselves in theater performances, radio pieces and film projects. The text as well as the course are worked out on the basis of their respective biographies and professions.

Since 2000, a number of productions have been created - in contrast to amateur theater or amateur theater - also at large theaters. An alternative to the conventional professional theater developed at its traditional venues.

Since 2005 the group has also worked on dramatic material, such as the documentary production of Schiller's Wallenstein . Here people appear whose lives show parallels to the people and motifs of the dramatic original. In 2007, the work premiered: The Old Lady's Visit by Friedrich Dürrenmatt - an excursus on remembering - people play more than fifty years later in the Schauspielhaus Zurich , the location of the first performance at the time. The current actors remember the play, the world success of Dürrenmatt, and play the play over long stretches - 50 years earlier they had been spectators, stage technicians, child statists and other onlookers.

In addition to these special, documentary varieties of spoken theater , Rimini Protokoll also realize site-specific projects in which the theater is less produced in its traditional locations than it is found elsewhere: in public spaces and in places subject to special, para-theatrical rules such as criminal courts (on-site appointment , Berlin 2004), weekly market ( market of the markets , Bonn 2004) or city administration ( Cameriga , Riga 2005).

Rimini Protokoll became internationally known with the “pirated copy” of an entire session of the German Bundestag . Bonn voters agreed to the experiment: for a day they took on roles that were shared out, analogous to the plenary session of the original, and spoke in the manner of simultaneous translators, which was spoken in the Bundestag, which had recently moved to Berlin ( Germany 2 , Bonn June 27, 2002). To do this, they had to switch to a rehearsal stage of the Bonn theater in the Beuel district because Bundestag President Wolfgang Thierse prohibited the use of the former parliament building , although the Theater der Welt festival had regularly rented the space and, contrary to official fears, the wording of the original speeches no own opinion should be added.

Rimini Protokoll also creates radio plays that are mostly based on their theater projects, but often refer to them in a commentary or satirical way. As with most theater projects, the focus is on the voices and statements of 'real people' instead of professional speakers, in contrast to most of Rimini Protokoll's theater projects, however, the audio pieces cultivate the direct, documented dialogue - albeit alienated and accelerated by editing and music.

“Situation Rooms”, like “Deadline” and “Wallenstein”, was invited to the Berlin Theatertreffen. In addition, Rimini Protokoll u. a. the Mülheim Dramatist Prize, the German Theater Prize Faust, the Grand Prix Theater of the Swiss Federal Office of Culture, the European Theater Prize, the Silver Lion of the Venice Theater Biennale as well as the German Radio Play Prize and the Radio Play Prize for the Blind.

Works

Dreysse / Malzacher (eds.): Experts of everyday life (see literature) contains a catalog raisonné from 1995 to 2007 .

theatre

  • 2000: Crossword pit stop (Haug / Kaegi / Wetzel, Künstlerhaus Mousonturm , Frankfurt am Main)
  • 2001: Apparat Berlin (Haug / Wetzel, Prater of the Volksbühne am Rosa-Luxemburg-Platz , Berlin)
  • 2001: Torero Portero (Kaegi, Goethe-Institut Inter Nationes Córdoba)
  • 2002: Shooting Bourbaki . A boy shooting (Haug / Kaegi / Wetzel, luzerntheater Luzern, Deutsches Schauspielhaus Hamburg and others)
  • 2002: Germany 2 (Haug / Ernst / Kaegi / Wetzel, Festival " Theater der Welt ")
  • 2002: Probe Hannover (Haug / Ernst / Kaegi / Wetzel, Kröpcke -Hochhaus, Festival "Theaterformen", Hannover)
  • 2002: Matraca Catraca. Uma viagem REM (Kaegi, Goethe-Institut Inter Nationes, Fundação Cultural Estado da Bahia e Empresa Farol da Barra, Salvador)
  • 2003: deadline (Haug / Kaegi / Wetzel, Deutsches Schauspielhaus Hamburg / Neues Cinema, etc.)
  • 2003: The Midnight Special Agency (Haug / Kaegi / Wetzel, Kunsten Festival des Arts, Brussels)
  • 2003: Skrót. Krakow Files (Kaegi, Goethe-Institut Krakau )
  • 2003: Market of the Markets (Haug / Wetzel, Theater Bonn)
  • 2004: witnesses! A penalty chamber play (Haug / Kaegi / Wetzel, Hebbel am Ufer Berlin, schauspielhannover )
  • 2004: Hot Spots (Haug / Wetzel, Thesseum A Theater for the Arts, Athens / Goethe-Institut Athens)
  • 2004: Sabenation. go home & follow the news (Haug / Kaegi / Wetzel, Kunsten Festival des Arts, Brussels / Festival "Theaterformen", Braunschweig)
  • 2004: Brunswick Airport. Because heaven needs us (Haug / Kaegi / Wetzel, Festival " Theaterformen ", Braunschweig)
  • 2004: Schwarzenbergplatz (Haug / Kaegi / Wetzel, casino in the Burgtheater )
  • 2005: Call cutta . A mobile phone theater (Haug / Kaegi / Wetzel, Star Theater / Max Mueller Bhavan ( Goethe-Institut ) Kolkata, Hebbel am Ufer , Berlin)
  • 2005: Mnemopark (Kaegi, Theater Basel )
  • 2005: Wallenstein (Haug / Wetzel, 13th International Schillertage , National Theater Mannheim , German National Theater Weimar)
  • 2005: Cameriga. A Metabureaucracy (Haug / Kaegi / Wetzel, Festival "Homo Novus", Riga)
  • 2006: Blaiberg and sweetheart19 (Haug / Kaegi / Wetzel, Schauspielhaus Zürich , Hebbel am Ufer , Berlin)
  • 2006: The Police Training Opera and The Memory Job (Wetzel, X-Apartments Caracas , Venezuela)
  • 2006: Cargo Sofia-X (Kaegi, various locations in Europe, WP: Theater Basel )
  • 2006: Karl Marx : Das Kapital , Volume One (Haug / Wetzel, Düsseldorfer Schauspielhaus , Hebbel am Ufer , Schauspielhaus Zürich , Schauspiel Frankfurt )
  • 2007: Chácara Paraíso. Police Art Show (Arias / Kaegi, São Paulo) [1]
  • 2007: World premiere: The Visit of the Old Lady (Haug / Kaegi / Wetzel, Schauspielhaus Zürich )
  • 2007: Peymann abuse (Haug / Wetzel, State Theater Stuttgart , Festival "Endstation Stammheim ")
  • 2008: Breaking News. A daily drama (Haug / Wetzel, Hebbel am Ufer , Düsseldorfer Schauspielhaus , Schauspiel Frankfurt , Wiener Festwochen )
  • 2008: 100 percent Berlin. A statistical chain reaction (Haug / Kaegi / Wetzel, Hebbel am Ufer , HAU EINS)
  • 2008: Call Cutta in a Box . An intercontinental telephone piece (Haug / Kaegi / Wetzel, Hebbel am Ufer , Nationaltheater Mannheim , Schauspielhaus Zürich, Kunsten Festival des Arts Brussels, Baltic Circle Helsinki, 104 Paris, Camp X Copenhagen and others)
  • 2008: Airport Kids (Kaegi / Arias, Théâtre Vidy-Lausanne , Festival d'Avignon , Hebbel am Ufer , Theater Chur )
  • 2008: Black Tie (Haug / Wetzel, Hebbel am Ufer , Wiener Festwochen , Gessnerallee Zurich )
  • 2009: Annual General Meeting (Haug / Kaegi / Wetzel, International Congress Center Berlin / Hebbel am Ufer )
  • 2009: Radio Muezzin (Kaegi, Hebbel am Ufer etc.)
  • 2009: The Sorcerer's Apprentice (Haug / Wetzel, Düsseldorfer Schauspielhaus, Hebbel am Ufer)
  • 2009: Locusts (Kaegi, Schauspielhaus Zurich)
  • 2009: Vung Bien Gioi (Haug / Wetzel, Staatsschauspiel Dresden )
  • 2009: Security Conference (Kaegi, Münchner Kammerspiele )
  • 2010: best before (Haug / Kaegi, PuSh International Performing Arts Festival Vancouver, Brighton Festival, Hebbel am Ufer, Luminato - Toronto, La Bâtie-Festival de Genève and others)
  • 2010: 100 percent Vienna. A statistical chain reaction (Haug / Kaegi / Wetzel, Wiener Festwochen )
  • 2010: Prometheus in Athens (Haug / Wetzel, Athens & Epidaurus Festival 2010, Odeon des Herodes Atticus , July 15, 2010)
  • 2010: Ciudades Parallelas - Parallel Cities (Arias / Kaegi, Berlin, Hebbel am Ufer, WP 17 September 2010)
  • 2010: Mr. Dağacar and the Golden Tectonics of Garbage (Haug / Wetzel, garajistanbul , WP October 15, 2010)
  • 2011: Outdoors (Haug / Kaegi / Wetzel, National Theater of Wales, Aberystwyth , WP February 25, 2011)
  • 2011: Soil sample Kazakhstan (Kaegi, Hebbel am Ufer, Berlin, WP April 27, 2011)
  • 2011: 50 kilometers of files (Haug / Kaegi / Wetzel, Hebbel am Ufer, Germany Radio Kultur, WP May 17, 2011)
  • 2011: 100 percent Karlsruhe (Haug / Kaegi / Wetzel, Badisches Staatstheater Karlsruhe , Federal Constitutional Court , ceremony September 28, 2011, public October 1st / 2nd)
  • 2011: 100 percent Cologne (Haug / Kaegi / Wetzel, Schauspiel Köln , premiere November 10, 2011)
  • 2011 "Herrmann's Battle" (Haug / Wetzel, Kleist Year 2011, Hebbel am Ufer, Berlin, Staatsschauspiel Dresden, Comédie de Reims, premiere: October 20, 2011 Kleistforum Frankfurt (Oder))
  • 2012 Lagos Business Angels (Haug / Kaegi / Wetzel, Hau Eins, Hebbel am Ufer Berlin; Kunsten Festival des Arts Brussels)
  • 2012: 100% Melbourne (Haug / Kaegi / Wetzel, Melbourne Arts and Participation Program, May 4-6, 2012)
  • 2012: 100% Braunschweig (Haug / Kaegi / Wetzel, Theaterformen, May 31 - June 2, 2012)
  • 2012: 100% London (Haug / Kaegi / Wetzel, London International Festival of Theater (LIFT) & Hackney Empire , June 29 - July 1, 2012)
  • 2012: En Folkefiende i Oslo ( An enemy of the people in Oslo , Haug / Wetzel, Ibsen Festival, Nationaltheatret Oslo, premiere 23 August 2012)
  • 2012: 100% Zurich (Haug / Kaegi / Wetzel, Theater Gessnerallee 18-21, 24-27 October 2012)
  • 2013: 10 kilometers of files (Haug / Kaegi / Wetzel, Staatsschauspiel Dresden and the Saxon State Commissioner for Stasi Records )
  • 2013: Remote City (Kaegi)
  • 2013: Quality control (Haug / Wetzel, State Theater Stuttgart / venue NORD June 2013)
  • 2013: [Situation Rooms (Haug / Kaegi / Wetzel, Ruhrtriennale August 2013)
  • 2014: World Climate Conference (Haug / Kaegi / Wetzel, Deutsches SchauspielHaus Hamburg, November 2014)
  • 2015: House visit Europe (Haug / Kaegi / Wetzel, House on Fire, WP May 2015)
  • 2015: Remote Karlsruhe (Kaegi, Staatstheater Karlsruhe , WP June 2015)
  • 2015: Evros Walk Water (Wetzel, TAK Liechtenstein, Schloßmediale Werdenberg, premier May 2015)
  • 2015: 100% Penang (Haug / Kaegi / Wetzel, Georgetown Festival August 1st - 2nd, 2015)
  • 2015: Adolf Hitler: Mein Kampf, Volume 1 & 2 (Haug / Wetzel, Kunstfest Weimar / Deutsches Nationaltheater Weimar, premier September 2015)
  • 2015: 100% Yogyakarta (Haug / Kaegi / Wetzel, Concert Hall, Taman Budaya October 31 - November 1, 2015)
  • 2016: 100% São Paulo (Haug / Kaegi / Wetzel, Teatro Municipal / MITsp 06. - 07.03.2016)
  • 2016: Truck Tracks Ruhr (Haug / Anbich / Kaegi / Karrenbauer, Oberhausen, Urbane Künste Ruhr April 21 - May 10, 2016)
  • 2016: 100% Salford (Haug / Kaegi / Wetzel, Salford, The Lowry May 7th - 8th, 2016)
  • 2016: 100% Brisbane (Haug / Kaegi / Wetzel, Brisbane, Museum of Brisbane 07/15/2016 - 12/15/2017)
  • 2016: Estate - Pièces sans personnes (Kaegi / Huber, Lausanne, Théâtre Vidy September 14-24, 2016)
  • 2016: brain projects (Haug / Wetzel, Hamburg, Deutsches SchauspielHaus, September 18-22, 2016)
  • 2016: Top Secret International (State 1) (Haug / Kaegi / Wetzel, Munich, Münchner Kammerspiele / Glyptothek Munich 10th - 18th December 2016)
  • 2017: App Recuerdos (Haug / Kaegi / Wetzel / Anbich, Santiago de Chile, Festival Santiago a Mil 07. - 22.01.2017)
  • 2017: Home visit USA (Haug / Kaegi / Wetzel, Santa Barbara, Museum of Contemporary Art Santa Barbara January 20, 2017)
  • 2017: City as Stage (Haug / Kaegi / Wetzel, Santa Barbara, Museum of Contemporary Art Santa Barbara January 22 - April 30, 2017)
  • 2017: Evros Walk Water 1 & 2 (Wetzel, Athens, Onassis Cultural Center 03. - 08.05.2017)
  • 2017: Society model large construction site (State 2) (Kaegi, Düsseldorf, Düsseldorfer Schauspielhaus 12th - 13th May 2017 )
  • 2017: 100% Montréal (Haug / Kaegi / Wetzel, Montréal, FTA May 25 - 28, 2017 )
  • 2017: Cargo Moscow (Kaegi / Karrenbauer, Moscow, Impressario Feodor Elutine 05.07. - 22.09.2017)
  • 2017: 100% Marseille (Haug / Kaegi / Wetzel, Marseille, Festival Marseille June 30th - July 2nd, 2017 )
  • 2017: Dreaming collectives. Groping Sheep (State 3) (Wetzel, Dresden, Schauspielhaus Dresden 23.09. - 27.10.2017)
  • 2017: Home Visit: Brasil em casa (Haug / Kaegi / Wetzel, Rio de Janeiro, TEMPO Festival October 16-22, 2017)
  • 2018: World Condition Davos (State 4) (Haug / Kaegi, Zurich, Schauspielhaus Zurich 12th - 25th January 2018)
  • 2018: Cargo Congo-Lausanne (Kaegi, Lausanne, Théatre Vidy-Lausanne 01.02. - 23.03.2018)
  • 2018: 100% Stellenbosch (Haug / Kaegi / Wetzel, Stellenbosch, Woordfees / HB Thom Theater February 23 - 25, 2018)
  • 2018: State 1-4 (Haug / Kaegi / Wetzel, Berlin, House of World Cultures (HKW) March 1st - 25th, 2018)
  • 2018: Home Visit Australia (Haug / Kaegi / Wetzel, Gold Coast, Bleach Festival 29.03. - 07.04.2018)
  • 2018: DO's & DON'Ts ( Greet / Haug / Karrenbauer, Berlin, HAU Hebbel am Ufer 03. - 30.05.2018)
  • 2018: 100% Voronezh (Haug / Kaegi / Wetzel, Voronezh, The Voronezh State Theater of Opera and Ballet 06-08-06-2018)
  • 2018: 100% Klagenfurt (Haug / Kaegi / Wetzel, Klagenfurt, City Theater Klagenfurt June 9th - 10th, 2018)
  • 2018: DO's & DON'Ts - A trip according to all the rules of the city (Haug, Essen , PACT Zollverein 14.06. - 07.07.2018) [2]
  • 2018: Unheimliches Tal / Uncanny Valley] (Kaegi, Munich, Münchner Kammerspiele 04.10. - 15.11.2018)
  • 2019: 100% Lisbon (Haug / Kaegi / Wetzel, Lisbon, Culturgest Lisbon 19. - 20.01.2019)
  • 2019: Chinchilla Arschloch, whatwas (Haug, Künstlerhaus Mousonturm, Schauspiel Frankfurt. WP 11.4.2019)
  • 2019 Utopolis (Haug / Kaegi / Wetzel, Manchester International Festival July 11th - 13th, 2019)

Audio pieces

Directory of radio plays by Rimini Protokoll at the radio play park

Movie

  • 2008: Wahl Kampf Wallenstein (Haug / Wetzel, Germany 2008, length 57'12 '', image format 16: 9; production: Gebrüder Beetz Filmproduktion on behalf of 3sat ; English version: "Election Campain Wallenstein")
  • Wallenstein . A documentary production by Helgard Haug and Daniel Wetzel (Rimini Protokoll), recording in original length, Germany 2007, 132 min. (First broadcast: ZDF / Theaterkanal October 2007).

installation

Awards

literature

  • Imanuel Schipper (Ed.): Rimini Protocol: State 1- 4. Phenomena of Post-Democracy. Theater der Zeit, Berlin 2018, ISBN 978-3-95749-133-6 .
  • Johannes Birgfeld, Ulrike Garde, Meg Mumford (Eds.): Rimini Protocol Close Up: Readings . Wehrhahn-Verlag, Hannover 2015, ISBN 978-3-86525-454-2 .
  • Johannes Birgfeld: Rimini Protocol. Invitation to theater didactics as an open encounter with the diversity of theater . In: German lessons. Vol. LXXI, issue 5/2019, pp. 43–53, ISSN 0340-2258.
  • Miriam Dreysse: Specialists in their own right. In: Forum Modernes Theater. Vol. 21, No. 1, 2006, ISSN  0930-5874 , pp. 27-42.
  • Miriam Dreysse, Florian Malzacher (ed.): Experts of everyday life. The Rimini Protokoll theater. Alexander-Verlag, Berlin 2007, ISBN 978-3-89581-181-4 (Revised version in English: Experts of the Everyday. The Theater of Rimini Protokoll. Ibid 2008, ISBN 978-3-89581-187-6 ).
  • Michael Eggers, Sebastian Richter: Reality bites. The new documentary art. In: polar circle eV (ed.): Politicization. What is missing (= Polar. Half-yearly magazine for political philosophy and culture. No. 1). Campus-Verlag, Frankfurt am Main 2006, ISBN 3-593-38193-1 , pp. 57-60.
  • Wolf-Dieter Ernst: Performance and Collectivity in the Network Economy. In: Franziska Schößler / Christine Bähr (ed.): Economy in the contemporary theater. Aesthetics, production, institution (= theater. Vol. 8). transcript-Verlag, Bielefeld 2009, ISBN 978-3-8376-1060-4 , pp. 57-70.
  • Angeli Janhsen : Rimini Protokoll , in: New Art as a catalyst , Reimer Verlag, Berlin 2012, pp. 103-109. ISBN 978-3-496-01459-1
  • Hajo Kurzenberger: Procedures and strategies in contemporary political theater (using Veiel's “Der Kick” and Rimini Protocol's “Wallenstein” as an example). In: Franziska Schößler / Christine Bähr (ed.): Economy in the contemporary theater. Aesthetics, production, institution (= theater. Vol. 8). transcript-Verlag, Bielefeld 2009, ISBN 978-3-8376-1060-4 , pp. 245-258.
  • Jens Roselt: At the edges of the presentation - an aspect of the art of acting today. In: Jens Roselt (ed.): Souls with method. Acting theories from baroque to post-dramatic theater. = Acting theories. Alexander-Verlag, Berlin 2005, ISBN 3-89581-139-4 , pp. 376-380.
  • Miriam Ruesch: Call Cutta - art when you call. In: Andreas Kotte (Ed.): Theater im Kasten. Rimini Protokoll - Castorfs Video - Beuys & Schlingensief - Lars von Trier (= materials from ITW Bern. Vol. 9). Chronos, Zurich 2007, ISBN 978-3-0340-0876-1 , pp. 161–217, and interview materials pp. 331–339.
  • Andrea Schwieter: Big world in a small way. Stefan Kaegi and Rimini Protokoll document reality in their theater work. In: Dagmar Walser, Barbara Engelhard (Ed.): Eigenart Schweiz. Theater in German-speaking Switzerland since the 1990s (= Theater of Time. Workbook 2007). Theater der Zeit, Berlin 2007, ISBN 978-3-934344-90-7 .

Fonts

  • Helgard Haug, Marcus Dross, Daniel Wetzel: Stage: Alibis. In: Gabriele Brandstetter , Helga Finter, Markus Wessendorf (eds.): Grenzzüge. The theater and the other arts (= Forum Modernes Theater. Series of publications, Vol. 24). Narr, Tübingen 1998, ISBN 3-8233-5224-5 , pp. 309-315.
  • Helgard Haug, Stefan Kaegi, Daniel Wetzel and others: Annual General Meeting. = Daimler Annual General Meeting. A play in 5 acts. Edited by Hebbel on the bank. 2009 (program, April 8, 2009), ( download PDF ).
  • Helgard Haug, Daniel Wetzel: Apparat Berlin. In: Bettina Masuch (Ed.): Wohnfront. 2001-2002. Volksbühne in the Prater. Alexander-Verlag, Berlin 2002, ISBN 3-89581-078-9 , pp. 81–101 (documentation of the 2001–2002 season).
  • Stefan Kaegi: Art enough. 33 voices as I would like them to be for the theater. In: Doris Kolesch, Jenny Schrödl (Ed.): Art Voices (= Theater of Time. Research 21). Theater der Zeit, Berlin 2004, pp. 12-14, ISBN 3-934344-41-0 (including excerpts on the accompanying CD from the Rimini-Protokoll radio plays "Apparat Herz" , "Kanal Kirchner" and "Deutschland 2" ).
  • Theater Bonn (Hrsg.): Market of the markets. External production at the weekly market in Bonn, world premiere. Program book by Helgard Haug and Daniel Wetzel. Bouvier Bonn 2003, ISBN 3-416-03050-8 .
  • Daniel Wetzel: The People-Life-Protocol. In: Albrecht Hirche , Kathrin Krumbein (ed.): The free fall. Positions of performers. Klartext-Verlag, Essen 2006, ISBN 3-89861-590-1 .
  • Helgard Haug, Stefan Kaegi, Daniel Wetzel: ABCD. Saarbrücker Poetics Lecturer for Drama , Ed. Johannes Birgfeld, Berlin: Theater der Zeit, 2012, ISBN 978-3-943881-03-5

Web links

Individual evidence

  1. Thorsten Jantschek: In this school you learn to play with reality. René Pollesch, Tim Staffel, Rimini Protokoll, She She Pop: The heroes of the new theater were all trained in Giessen. An anthology explains how this came about. Frankfurter Allgemeine Zeitung, features section, February 26, 2013
  2. ^ Andreas Klaue: Search movements in different directions. Conversation with Helgard Haug, Stefan Kaegi and Daniel Wetzel , in: Mimos 2015. Schweizer Theaterjahrbuch 77. Verlag Peter Lang, Bern 2015, ISBN 978-3-0343-2069-6 , pp. 31–43
  3. cf. Eva Behrendt: Specialists of your own life , in: Miriam Dreysse, Florian Malzacher (Hrsg.): Experts of everyday life. The Rimini Protokoll theater . Alexander Verlag, Berlin 2007, ISBN 978-3-89581-181-4 , pp. 64-73
  4. "Rimini is the hottest, most intelligent and surprising thing that the international theater scene has to offer at the moment. And that's why the Rimini heads Helgard Haug, Stefan Kaegi and Daniel Wetzel are now receiving calls not only from the major German-speaking theaters, but from festivals, companies and Institutions from all continents. " - Peter von Becker: "Wonder, really true" , Der Tagesspiegel, November 24, 2006. Culture
  5. Tobias Becker, Wolfgang Höbel: "Hands-on show for laypeople. Rimini Protokoll staged the classic 'Wallenstein' without actors, but with politicians and soldiers." in: DER SPIEGEL No. 53, December 28, 2009, p. 135
  6. Renate Klett : Everyone participates. Most don't know. Are we surrounded by pirated copies? The theater collective Rimini Protokoll shows the world as a great conspiracy . In: DIE ZEIT, March 1, 2003, accessed on July 3, 2016
  7. Milo Rau: Rimini Protocol and the Reconstruction of Reality. We are all specialists. Neue Zürcher Zeitung, February 17, 2004 , accessed on July 3, 2016.
  8. References to most of the radio plays in the Rimini Protokoll directory on the Hoerspielpark website
  9. Who cooks in the ammunition factory? in FAZ of May 17, 2016, page 12
  10. W DR program information on the original broadcast
  11. Data on the film on the website of the production company Gebrüder Beetz , accessed on July 3, 2016.
  12. Katja Baigger: A Homage to Reality, Neue Zürcher Zeitung, May 28, 2015, accessed July 3, 2016