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Interview with Hofmann&Lindholm


Performance Beside the Scenes

Can you introduce yourself?

We are an artist collective from North-Rhine Westphalia, who implement interdisciplinary projects that oscillate between scenic, visual and acoustic art. We both studied Applied Theatre Studies in Gießen and founded our label Hofmann&Lindholm in 2000. We have since produced various theatre performances, audio plays, films and interventions in urban spaces with a wide range of different partners in Germany and abroad.

Do you notice a difference in audience between different countries and/or cities?

Yes. This may have something to do with the climate in which art is allowed to develop in each respective country or particular city and the degree of interest directed at these developments. Whether autonomy or freedom of art is politically intended and advocated or not. And in what ways the audience reacts to these questions night for night or rather to what degree it considers its own role important. Luckily, this is impossible to foresee.

What is your opinion on the social relevance of theatre?

Sven L. does not assume that art today must necessarily be relevant as a reflection of society. However, it can perhaps make the process of things being displaced within our society more visible. Hannah H. thinks that the social relevance of art may lie in transgressing certain rules and being able to expose them as self-made.

What feeling is important to be creative?

The opposite of equability (Gleichmut).

Are these undervalued stories created by your imagination or are the based on the truth?

Both. But most of them are based on very detailed investigation.

You have a lot of freedom, because of your participation with the Spitzenförderung Theater NRW. Why did you choose to fulfill this freedom with using this new technique?

Having been accepted into the Spitzenförderung funding programme of the State of North-Rhine Westphalia meant for us – at least temporarily – existential security. We always understood it as encouragement to become more radical. As a mandate to pursue stories, images and signs as persistently as possible; to leave the trodden paths and whack our own way through the underbrush. A project such as ‘Beside the scenes No I: The 20th Century’ would not have been possible without the backing of the State, because for months  – among other things – it wasn’t clear whether the project could be technically implemented at all, for we were the first to even try such a thing. In the end we got lucky.


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