Death and Resurrection: Political Stage Art at Cultural House Dock 4
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A radical theater evening about money, powerlessness, and the dream of system change
A man leaves his wife and home, takes a suitcase with stolen 4.5 million euros, and sets off to bring down the capitalist system. In the studio stage Deck 1 of the cultural center Dock 4, the audience encounters a linguistically powerful dropout drama that intertwines political despair, grotesque humor, and surreal stage fantasy.
A former banker fighting against the world
Nis-Momme Stockmann's play follows a nameless former banker who leaves his old life behind and wants to use hyperinflation as a weapon against the financial world. His hideout is located on the top floor of a white tenement building at Inheidener Straße 71. However, the supposed mission does not lead him to freedom but directly into a labyrinth of memories, power relations, and inner contradictions.
On his way, he encounters a vengeful wife, the war-obsessed landlord Kaschinsky, a fascinating young woman, and a mysterious homeless man. Even the protagonist's dreams take over the stage: Strange figures stage a musical in his one-room apartment and transform the dropout drama into a shimmering mental cinema.
Dramaturgy between anger, grotesque, and confusion
Stockmann's text refuses the comfortable political answer. The plot revolves around capitalism, fear, money, and the longing for a different society. From the simple starting situation, an expansive dramaturgy develops in which side scenes, digressions, and surreal images make social discomfort visible.
Reviews of the premiere and later productions describe the play as radical, excessive, and at the same time artistic theater about the contradictions of a generation. The production not only asks who is responsible for the crises of the present. It also looks at one's own entanglement in those structures that one criticizes.
Ensemble work with political energy
The ensemble of the Theater Uni Kassel brings this multifaceted template to the stage with Fabian Bernhardt, Emma Freitag, Vera Habermeier, Christopher Krug, Matay Özdemir, Julia Rusanov, Leon-Raphael Schmitt, Eduard Sivokonev, Benjamin Stoll, and Louisa Wengler. Directed by Natalia Yakovina and Christopher Krug.
Music by Matthias Nachtmann and Martina Freitag adds its own acoustic dimension to the production. Set design, costumes, and props are by Pauline Metz, Lina Nguyen, and Pauline Metz. An expected stage experience in which language, acting art, music, and visual exaggeration merge into a nervous theater atmosphere.
A play about a generation without simple answers
Since its premiere in 2012, Death and Resurrection of the World of My Parents in Me has retained its societal explosive power. The play addresses people who have grown up in a seemingly alternative-less world but still feel that the existing conditions do not work.
The production roughly addresses war trauma, self-harming behavior, suicide, and sexual exploitation. These themes shape the evening as burdensome and confrontational topics, making the performance a theater visit that requires attention and inner readiness.
Conclusion: Political theater as an immediate stage experience
In the cultural center Dock 4, the audience can expect an intense theater evening between capitalism criticism, black humor, musical grotesque, and psychological chamber play. Death and Resurrection of the World of My Parents in Me invites you to understand your own powerlessness not as an endpoint but as an open question. Those who want to experience contemporary stage art with linguistic impact and social relevance will find an unusual evening at Theater Uni Kassel.
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