Inside Lieutenant Gustl
Vienna, 1900. Time of the Austro-Hungarian regime. Everyday life is constituted by honour, pride, duels, suppressed individuality and outworn hierarchies. With World War I already on the doorstep and antisemitism becoming socially acceptable, the spirit of the German Empire is rapidly crumbling. In this troubled times, Lieutenant Gustl, a young and disoriented k. & k. officer, is deeply offended in his honor: He was called a stupid boy by a baker (Nicholas Ofzarek).
Since his opponent isn’t a member of the military, and therefore the conflict cannot be resolved by a duel, there is only one way to restore his honour: suicide.
Witness Lieutenant Gustl’s stream of consciousness as he is drifting through a sleepless night in search for a viable escape. But as the day breaks, there comes the hour of truth.
Of course Lieutenant Gustl is more than a nostalgic reminiscence of long gone days. A hundred years later we find ourselves in a quite familiar situation: In desperate need to frame our own identity, we are longing for authenticity and a binding reference system in face of the overwhelming possibilities of the present. And in search for orientation parts of our society are calling for border walls and identifiable enemies.
Das virtuelle Theater
das virtuelle theater is a new venue for everything that made traditional theater the ideal vessel for great storytelling throughout the centuries.
The main objective of das virtual theater is — in combination of VR, classical spoken theater, film and not least literature — to explore how theater in all its peculiarity and beauty can define its role in the virtual world.
das virtuele theater, already designed in 2015 by Sebastian Brauneis, translates all the strengths of theatrical performances — immediacy, dramatic action, artistic and creative transmission of feelings through gestures and words, the “physical co-presence” of the audience and the actors at the “same place” — into virtual reality.
Our plays find their way into the world wide web where they intentionally seek confrontation with multiple realities at the level of adventure and experience. The aim is to explore the possibilities of interlacing “analog” theater plays with “virtual” experiences.