Chinchilla Arschloch, waswas
“Not deliberate – just Tourette’s” says Christian Hempel when he meets people, just in case. He can’t control his outbursts. They are reactions to the world through which he moves. Tourette’s syndrome seeks attention, provokes confrontation and causes a stir.
Is it Tourette’s or deliberate? Tic or timing? Making theatre with Tourette’s seems impossible at first: no text is reliable, no movement can be repeated. The stage machinery has to be made secure, special hotel rooms have to be reserved. What isn’t compatible with Tourette’s is changed.
In Chinchilla Arschloch, waswas, by the theatre collective Rimini Protokoll, Christian Hempel takes to the stage for the first time together with the musician and geriatric nurse Benjamin Jürgens and the politician Bijan Kaffenberger, who also have Tourette’s syndrome. Together with the musician Barbara Morgenstern they put theatre to the test: How much unintentionality can it take? How much protection can it offer? Isn’t the stage made for the very opposite, for precision, repeatability, control, world history, spectacle? But after the applause it becomes clear that this piece isn’t just about Tourette’s. No one is made a fool of here. It’s about the audience, about theatre and the fear of losing control.