Younes Tissinte
Younes Tissinte
© SLT / Christian Krautzberger
Younes Tissinte
Younes Tissinte
© SLT / Christian Krautzberger
Aaron Röll, Younes Tissinte
Aaron Röll, Younes Tissinte
© SLT / Christian Krautzberger
Younes Tissinte
Younes Tissinte
© SLT / Christian Krautzberger
Aaron Röll, Younes Tissinte
Aaron Röll, Younes Tissinte
© SLT / Christian Krautzberger
Aaron Röll, Younes Tissinte
Aaron Röll, Younes Tissinte
© SLT / Christian Krautzberger
Younes Tissinte
Younes Tissinte
© SLT / Christian Krautzberger
Leyla Bischoff
Leyla Bischoff
© SLT / Christian Krautzberger
Leyla Bischoff, Younes Tissinte
Leyla Bischoff, Younes Tissinte
© SLT / Christian Krautzberger
Aaron Röll, Leyla Bischoff, Younes Tissinte, Lisa Fertner
Aaron Röll, Leyla Bischoff, Younes Tissinte, Lisa Fertner
© SLT / Christian Krautzberger
Aaron Röll, Leyla Bischoff, Younes Tissinte, Lisa Fertner
Aaron Röll, Leyla Bischoff, Younes Tissinte, Lisa Fertner
© SLT / Christian Krautzberger
Younes Tissinte
Younes Tissinte
© SLT / Christian Krautzberger
Lisa Fertner
Lisa Fertner
© SLT / Christian Krautzberger
Younes Tissinte, Lisa Fertner
Younes Tissinte, Lisa Fertner
© SLT / Christian Krautzberger
Younes Tissinte
Younes Tissinte
© SLT / Christian Krautzberger
Younes Tissinte
Younes Tissinte
© SLT / Christian Krautzberger
Leyla Bischoff, Younes Tissinte
Leyla Bischoff, Younes Tissinte
© SLT / Christian Krautzberger
Leyla Bischoff, Younes Tissinte
Leyla Bischoff, Younes Tissinte
© SLT / Christian Krautzberger
Aaron Röll
Aaron Röll
© SLT / Christian Krautzberger
Younes Tissinte
Younes Tissinte
© SLT / Christian Krautzberger

Ich rufe meine Brüder

Jonas Hassen Khemiri

Ab 13 Jahren

Premiere: 16. Mai 2024 / Kammerspiele

Synopsis

Stockholm 2010: A car bomb. Two injured. Thousands of looks. Fear is spreading! Cupid lets himself drift in the diffuse disco light and be swallowed up by the black night. The phone keeps ringing and his friend Fabi is trying to reach him. He's worried. The next morning: Spit out on the hard ground of reality, an unstoppable carousel of thoughts begins for Amor. Nobody has been caught yet. But Cupid feels the looks of the others. Because he is suspicious because he looks like someone who could be suspected. It is important to become invisible. To shave. Not to stand out. He's innocent, right? Cupid is not a terrorist - he is a student, best friend, helpful cousin and caring grandson. But Cupid increasingly begins to observe himself. Is that paranoid, or is the city actually frozen in fear? He still tries to go about his everyday life as normally and, above all, inconspicuously as possible. But what does “normal” actually look like when you suddenly become a projection surface for prejudices? It quickly becomes clear how easily the perception of perpetrator and victim, of reality and imagination, can be blurred and manipulated. “I call my brothers” shows how fragile this boundary is and how easily the gaze can be manipulated in a society that has to obsessively observe everything.

The novels and dramas by Jonas Hassen Khemiri show the problems and challenges of our society with a clear and at the same time poetic perspective.

Duration: 80 min / no break

Selected performance

Th 05/16/2024 07.30 pm

Kammerspiele

Cast (on 05/16/2024)

Director Sarah Henker

Stage and Costume Design Philipp Eckle

Dramaturgy Clément de Dravo
Anna Lukasser-Weitlaner


Amor Younes Tissinte

Fabi / Überwacher / Mobber / Stimme Aaron Röll

Ahlem / Verkäuferin/ Tyra / Stimme Leyla Bischoff

Valeria / Karolina / Mobberin / Stimme Lisa Fertner

Audio introduction

von Clément de Dravo und Anna Lukasser-Weitlaner

Reviews

Die Inszenierung von Sarah Henker ist spritzig, zwischen den enorm wandlungsfähigen Bühnenelementen, die sich Philipp Eckle ausgedacht hat: Die konisch sich verjüngenden, weiß marmorierten Bauteile lassen sich in Art einer barocken Kulissenbühne für Auftritte ordnen und geben genau so gut Inventar oder Architektur wieder.

Drehpunkt Kultur

„Allein das intensive Spiel von Younes Tissinte, seine überzeugende Darstellung von Angst, Zweifel und Verzweiflung, sein Hadern und Ringen, sein wildes Tanzen, mit dem er Zerstreuung sucht – und letztlich sein Hoffen, all dem doch irgendwie entrinnen zu können, zeigt, wie gewaltig die Mittel des Theaters sind.“ 

Traunsteiner Tagblatt