Republic of Lucrece is an artistic examination of the rape culture we live in – namely the social structures and contexts that foster rape. It was important to us to address sexualised violence without explicitly reproducing it in the work’s content.
Please be aware, however, that in some places violent language is used and we ask potential audience members to decide for themselves whether the subject matter is one that they are prepared to confront.
A burning Rome for LucreceEin Leben für LucretiaEine Lust für LucretiaVideo ansehenarrow_drop_down_circleA Black Revolution –
Lucrece, now it’s my turnRampenlicht für Lucretia The Rape of Lucrece is considered one of the founding myths of the Roman Republic and an important reference point in the history of rape culture.* In William Shakespeare's narrative poem Lucrece ultimately chooses suicide. But what would the world look like if the famous poet had had an equally gifted sister named Judith? Virginia Woolf undertook this thought experiment in 1929 in her essay A Room of One’s Own.KOLLEKTIV EINS pursues this idea and resurrects Judith Shakespeare in order to reopen the case of Lucrece together with her. In five artistic positions we want to initiate a new founding myth – for a world which challenges traditional notions of honour and shame, society and gender, perpetrators and victims – a Republic of Lucrece. It starts here.
*Who actually was Lucrece?THE RAPE OF LUCRECE
- A myth
Who is Lucrece anyway? Lucrece is a male fantasy. A retelling of the Roman tale, recorded by Ovid, Shakespeare and others. The legend of her virtuousness has passed through many male hands. It is the 6th century BC, Rome is ruled by a tyrannical king named Tarquinius Superbus – and Lucrece’s husband Collatine is involved in a conspiracy against him. One evening Collatine boasts about his wife's faithfulness in front of other men and Lucrece becomes the focus of a sleazy bet: ‘Do you bet that she is the most virtuous?’ the king’s son Sextus Tarquin wants to know. At Collatine’s invitation, he seeks out Lucrece – and, sure enough,
according to the common tale, while other women go out and enjoy life in the absence of their husbands, Lucrece is sitting dutifully at her spinning wheel. One night Tarquin sneaks into Lucrece’s bedroom, threatens her with a sword and asks her to give herself to him. Lucrece tries to persuade him to stop and begs him to kill her for she would rather die than be unfaithful to her husband. But Sextus Tarquin has a fiendish plan: he says he will kill not only her but also a slave, place his body next to hers and thus accuse Lucrece of fornication. Tarquin violently rapes Lucrece. If the legend is to be believed, it is Lucrece herself who demands to be judged. She asks both her husband and her own father to kill her. When both absolve her of all guilt, Lucrece stabs herself in the heart so that no unfaithful woman will ever be able to invoke to her fate and, even worse, escape unpunished.
So much for Ovid, Shakespeare and co. As we said, Lucrece is a male fantasy. But who actually was Shakespeare?
Judith Shakespeare was a poet. Her equally talented but infinitely more successful brother William proved "what a difference a tail makes" (Virginia Woolf, 1929), especially at a time when "women [had] no greater chance than a dog of writing poetry" (Woolf).
According to Virginia Woolf, Judith Shakespeare died young and never wrote a word.
But at the same time she lives on in us, Woolf says at the end of her essay A Room Of One’s Own. And so we want to revive Judith Shakespeare, to write new stories with her and to rewrite her story.
Frauenhelpline: 0800 / 222 555 frauenhelpline.at Credits
Mit dem Projekt Republic of Lucrece setzen die Theater Chemnitz, das Kosmos Theater Wien und das KOLLEKTIV EINS die Kooperation im Rahmen des Fonds Doppelpass der Kulturstiftung des Bundes fort.
Idee: Paula Thielecke
Konzept: KOLLEKTIV EINS
Mit Texten von Paula Thielecke, Magda Decker, Sophia Hankings-Evans, Stefan Hornbach, Sören Hornung, Lauretta van de Merwe und Carolin Wiedenbröker
Mit Magda Decker, Sophia Hankings-Evans, Stefan Hornbach, Sören Hornung, Lauretta van de Merwe und Carolin Wiedenbröker
Künstlerische Leitung: Stefan Hornbach,
Sören Hornung, Carolin Wiedenbröker Dramaturgie: Kathrin Brune Assistenz: Hannah Wörner Setdesign, Kostüm und Ausstattung:
Lisa Jacobi und Harry Rischmüller Director of Photography: Arda Funda Komposition und Musik: Laura Eggert Ton: Toni Stinglwagner Licht: Toni Stinglwagner, Lukas Lösch, Kay Mothes,
Louis Baumgärtel, Erik Bernhard, Adrian Justus, Arda Funda Schnitt: Arda Funda, Sören Hornung und Carolin Wiedenbröker Dialogschnitt: Lambert Regel Sounddesign und Mischung: Samuel Schwenk Musik Mastering: Queer Ear Mastering (Tara Transitory und Nguyễn Baly) Untertitel: Stefan Schneider Produktionsleitung: Jasna Witkoski
Herzlichen Dank an Jörg und Karola Günther und Danielle Piragibe
Hinweis: Das Konzept ‘Happyland’ stammt von der Autorin Tupoka Ogette.
Programmierung:Ronny Graupner // GNC Designstudio Gestaltung:Nadine Rothe, Mathilde SchliebeTwitter
Despentes, Virginie: KING KONG THEORIE. KiWi, 2018. Manne, Kate: DOWN GIRL. DIE LOGIK DER MISOGYNIE. Suhrkamp Verlag, 2019. Ogette, Tupoka: EXIT RACISM. Unrast Verlag, 2020. Penny, Laurie: FLEISCHMARKT: WEIBLICHE KÖRPER IM KAPITALISMUS. Nautilus Flugschrift, 2012. Sanyal, Mithu M.: VERGEWALTIGUNG: ASPEKTE EINES VERBRECHENS.
Edition Nautilus, 2020. Woolf, Virginia: EIN ZIMMER FÜR SICH ALLEIN. Kampa Verlag, 2019.
Story of Lucrece
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