Incoming Festival has been a chance for us to connect with the work of lots of interesting artists that are making lots of interesting work. It's great to see a line up where there is some work that is really similar, and some work that is miles apart, to see what fascinates some people and what fascinates others, but most of all, it's great to share in it all. To share how things are made, and how different people work. We spoke to Kopfkino about their show The Bearpit, how the audience always changes things, and what 'kopfkino' means.
What drove you to make The Bearpit?
The Bearpit began with us talking about the nature of modern relationships. And then Brexit hit. We saw how divided people were, and how these divisions - age, social class, geographical location - became entrenched very quickly, with neither side willing to cross their own boundary. Conversations stopped, replaced with feedback loops and echo chambers.
We realised that the metaphor of a crumbling relationship, in which both parties love each other but can’t articulate how they feel, was pretty clear way to try and explore this.
It took us two years to make the piece, and there’s a lot of autobiography in there. At its heart, it’s our attempt to make sense of the position we have found ourselves in.
Neither of us can remember why the end of the world motif came in. It happened a really long time ago.
Tell us a bit about Kopfkino Theatre
Kopfkino is Flora and Nic. We first met at university but didn’t start working together until 6 years after that.
We come from pretty different theatrical approaches, and Kopfkino continues to be our exploration of where devising and writing meet.
Kopfkino is a German word that means ‘head cinema’. It’s about letting your imagination run away with you, and about the images you conjure up in your mind.
There are so many ways to tell stories, tackle issues, explore ideas - why theatre?
Theatre is a unique experience, because its live. It’s a chance for us all to come together to try and understand who we are.
The joy of it is that each show is always different, because it is performed for a different group of people every time. The audience is the key component of theatre.
What was the last show you saw that you think everyone should see?
Palmyra, by Bert and Nasi, was an extraordinary experience – brutal and hilarious in equal measure. Now Is The Time To Say Nothing, which we saw as part of Mayfest in Bristol this year, is wonderful. And we saw Hamilton. And sang every word.
Theatre making is hard and, although we try our best to work around them, it has it’s limits. If you had an unlimited budget, an unquestioningly devoted audience and all the time in the world, what show would you make?
Hamilton rip off. Done by Tim Crouch. With Kanye’s lighting rig.
We’ve spoken a lot about how we would love to use more technology in our work. Music is a really integral part of The Bearpit (we worked a lot with Rosa Brook who is incredible). There’s something about sensory overload that we’re really interested in. So, yes, a whopping great loud show with huge screens.
What else in the Incoming Festival line-up are you excited to see?
Insert Slogan Here by yesyesnono, Love+ by Malaprop, and catching up with Argonaut – we loved Action at a Distance at the fringe last year.
The Bearpit will be coming to Incoming Festival 7pm on 27 June at New Diorama and at 8.30pm on 29 June HOME, Manchester.