Boris Nikitin - Magda Toffler

Magda Toffler

Staatstheater Nürnberg

12. & 13. Januar 2023

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Staatstheater Nürnberg

02. & 03. März 2023

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HAU - Hebbel am Ufer Berlin

17. März 2023

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Kaserne Basel

22.-24. März 2023

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Theater Chur

5. April 2023

weitere Aufführungen…

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Staatstheater Nürnberg

27. April 2023

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Festival auawirleben, Bern / Schlachthaus

14. Mai 2023

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Festival "Impulse", Düsseldorf

10. Juni 2023

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Theater Frascati Amsterdam

14. Dezember 2023

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Theater Frascati Amsterdam

15. Dezember 2023

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Festival "Steirischer Herbst '22"

14. Oktober (Uraufführung, Premiere) 2022

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Festival "Steirischer Herbst `22"

15., 16. Oktober 2022

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Staatstheater Nürnberg

11. November (Deutschlandpremiere) 2022

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Staatstheater Nürnberg

17., 23. November 2022

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Ringlokschuppen Ruhr

25. November 2022

Concept, text, performance: Boris Nikitin
Production managment: Annett Hardegen
Outside-Eye: Annett Hardegen, Matthias Meppelink

A coporduction with It’s The Real Thing, steirischen herbst 22, Staatstheater Nürnberg Kaserne Basel, Ringlokschuppen Ruhr, Théâtre Vidy Lausanne, HAU - Hebbel am Ufer Berlin, Frascati Amsterdam, Theater Chur and Omanut.
With the support of Fachausschuss Tanz & Theater der Kantone Basel-Stadt und Basel-Landschaft, Pro Helvetia, Stanley Thomas Johnson Stiftung.
The first draft of this work was commissioned by Omanut.

><Presse

Bernd Noack, Nürnberger Nachrichten: The text is just twenty pages long. And yet it contains an entire century.

Nachtkritik: It is very quiet in the theatre. (...) There is no "good evening" and "goodbye", but only a sudden coming and going. And in between, the pages of life are spread out, read out, tasted, thought through.

Süddeutsche Zeitung: "Because no one hears anyone else say anything, no one says anything." In this seeming tautology, Nikitin captures the manipulative power of surveillance states, documentation technologies, and collectives.

SRF2: A dense, analytical but also very tender performance.

Nürnberger Nachrichten: No word is too much, none should be missing now, when Boris Nikitin sits there in the black nothingness.

Bajour:
What a risk! You can hardly expose yourself more. It could become exhibitionistic and embarrassing, slipping into the anecdotal. But the opposite happens. He gains strength and moves the audience. By publicly showing his doubts about himself and his vulnerability, they become his strength.

Bayrischer Rundfunk: Nikitin's " attempt" consists only of speech and reflection, of speaking and silence. The evening gains enormous urgency from this reduction. The play is about the monstrosity of Nazi crimes, which makes us fall silent. Boris Nikitin nevertheless finds words for the unspeakable; but not by naming it, but by reflecting on the speechlessness that arises from powerlessness and taking his audience with him.

Wiener Zeitung: Simple, yet gripping.

Süddeutsche Zeitung: Nikitin's works are at the same time distance meters and drilling depths, setting the device in the private in order to reach elsewhere.

Donaukurier: The affective tension lasts beyond the ending and the applause.

INVITED TO "IMPULSE" 2023.

In "Magda Toffler" Boris Nikitin undertakes genealogical research and looks at the history of his grandmother. After she dies at the age of 87, he learns that she originally came from a Jewish family. In 1944/45, she had to hide for months in a barn in eastern Slovakia, while most of her family lost their lives in the German death camps. She kept all this to herself, started a family and became the first professor of chemistry in the young socialist Czechoslovakia. She even hid the secret from her daughters.

With "Magda Toffler" Boris Nikitin makes a deep drilling into the hidden layers of 20th century Europe. The new piece is raw, frontal, at the same time precisely composed. An emotional as well as intellectual border crossing of the theater.