What do you still believe in? What are you hoping for, what do you wish for—and who is joining you?

You are invited to tea and conversation. Outside the windows, it is foggy and cold. War is raging in Europe. It is winter. In a salon, Christa Wolf's novel Kein Ort. Nirgends (No Place. Nowhere) brings together Karoline von Günderrode and Heinrich von Kleist – two poets, two seekers who remained strangers to their time and chose death while still young.

The idea of the salon and the themes from Kein Ort. Nirgends are taken further in the production of the same name: What does it mean to make art today? How radical do we want it to be, how much freedom of thought do we dare to allow ourselves? And where is home, where is kindred spirit in the present?

Three characters struggle with the necessity of formulating utopias – despite everything. The salon, which is being created here in the foyer of the Theater an der Ruhr, is not a historical tableau, but a space for shared questioning. The characters search, hope, doubt, question, and contradict each other. Listen, get involved, endure what is uncomfortable.

We cordially invite you to the premiere as part of a double feature with Das Band. Freundschaft als Lebensform (premiere) on February 26 at 7 p.m.

Individual performances can be attended on March 1 at 6 p.m. and March 12 at 7:30 p.m.

Double performances

The productions Das Band. Freundschaft als Lebensform (premiere) and Kein Ort. Nirgends are connected. They were created in parallel, with the same actors and in a shared space, and can be seen both as double performances on one evening and as individual performances.

Premiere double performance: Thursday, February 26, 7 p.m.

Additional double performance dates:
Saturday, February 28, 7 p.m. with post-performance discussion
Friday, March 6, 7:30 p.m.
Friday, March 20, 7:30 p.m.

A collaboration within the framework of vier.uhr

"Director Alina Sobotta skilfully incorporates the entire foyer, especially the large decorative windows and the beautiful old wooden doors, into her production – and at the end even the park behind the building. She initially lets the protagonists act without words. Their looks, gestures and poses show them to be restless and perplexed. Only later do carefully selected passages of text become audible, sketching the poet and the playwright as seekers, hopefuls and doubters. [...] You hear sentences that touch you and stay in your mind for a long time." 
WAZ, Andrea Müller