Autor: ann katrin

Close your eyes and imagine: We are sitting together at a big table. We laugh, reminisce. The smell of the sea. Everything is right. Everything makes sense.

42 is the supercomputer’s answer to the question of the meaning of life in Douglas Adam’s novel The Hitchhiker’s Guide to the Galaxy. A vague answer – even after several million years of computing time. Will we find out more? What makes life meaningful? 42 people have shared with us their very personal answers. We play them on.

Wild and poetic, loud and quiet, between dissonance and harmony, the international ensemble moves on an oversized playground where anything is possible and anything can happen.

What is really important? How do we use the short time we have left in this world? How do we make a difference? More and more fervently, we are searching for answers. No wonder – after all we have experienced in the last months! No wonder – in view of current wars and destruction! No wonder – in view of all the shocks to which our lives are exposed.

Because imagine, we wake up and everything was in vain….

We wait. And no longer know ourselves why we only hope idly that things will get better. Waiting.

NOW. Now we need to get up, leave the familiar space – the rigidity, the silence, the transit. We need visions for the future. Because we know: it can’t go on like this. What keeps us from thinking concretely and radically? And to act?

In NOW. figures, seemingly out of time, dare to sketch their ideas and visions for the world of tomorrow. Outside the already known and at the risk of being seen as dreamy and naïve.
They ask themselves: What could happen? They rethink values, they share their ideas, they sharpen the notions of what could be.

Based on the novel by James Joyce, the Panorama Dance Theater wanted to „wander“ through the experiences of Leopold Blum with dancers*, actors and a musician. The narrative style is understood as an inspiration for the development of secondary cosmos, in which other times and spaces open up.
James Joyce consistently adheres to the stream of consciousness, the „stream of consciousness“ and thus achieves the greatest possible proximity to the characters in his novel. Words and sentences are incomplete and themes change abruptly in the middle of a sentence. The thoughts of several people overlap, street noises or snippets of thoughts briefly penetrate consciousness, and everything blurs into a single impression. Following this narrative style, we will tell not one, but a wealth of stories…