Surprising in perspective

Franz Knoppe

"Undiscovered Neighbours", a political theatre project that poses the question five years after the NSU murders were uncovered, will be launched in Chemnitz on 1 November 2016: How were the perpetrators able to live among us unrecognised? Between 2000 and 2006, nine men with a migrant background and a German policewoman were murdered. The suspected murderers also had their network here in Chemnitz. Project manager Franz Knoppe tells us how theatre deals with these events.

Why is it important for Chemnitz to come to terms with the NSU murders?
Franz Knoppe : Chemnitz has never been the focus of media attention for the NSU crimes in the same way as Jena or Zwickau. There was talk of the Zwickau terror cell or the Thuringian terror trio. Chemnitz was almost never mentioned, although the three suspects hid here for two years and were supported by the local extreme scene. So the topic is also here.
When we presented our idea of a theatre meeting here, we received a lot of approval. That shows me that Chemnitz is interested in its own reflection. That makes the city authentic and that is also recognised from the outside. There is a city in Saxony that is taking a serious look at right-wing extremism.

Where can the theatre project Undiscovered Neighbours be seen?
We are mainly focussing on Chemnitz and Zwickau. In addition to the major theatres, we also want to involve the independent scene. For example, the Weltecho is involved - with one of the most spectacular performances: "Offener Prozess". This will be a staged reading of the NSU protocols from the Süddeutsche Zeitung. Five theatres from all over Germany will be showing this play at the same time: Bautzen, Nuremberg, Jena, Zwickau and Chemnitz. Other theatres are involved via live video. We are showing that there is a Germany-wide cultural and artistic network that wants to raise awareness.

So artists from all over Germany are also involved in the theatre programme?
Yes, we have 13 plays in the programme. Our artistic director, Laura Linnenbaum, looked at 80 plays from all over Germany and selected them. We recorded "Taxidriver" for Jena Theatre and "Morgenland" by Staatsschauspiel Dresden, a play in which citizens enter into dialogue with each other. All of these plays pose the questions: What can theatre, what can art achieve in political discourse? How can discussions in society be triggered and accompanied?

The "Undiscovered Neighbours" theatre festival will begin on 1 November with the play "Lücke" at Schauspielhaus Chemnitz. "This play also has a therapeutic effect," says Knoppe. The director interviewed people who witnessed the attack in Cologne's Keupstraße and also captured the current perspective of the residents. "We invite plays that focus on coming to terms with the victims. In "Judgements", Christine Umpfenbach shows how police work went after the murders," he adds the second example. "She spoke to victims from Munich. Theatre work like this is part of our programme." Knoppe is aware that the theme of the Theatertreffen fits into a politically charged time. Born in Berlin, he moved from Zwickau to Chemnitz two years ago and instead of ignoring the issue, he has switched on the spotlight and hopes that art will make a difference. "The things that are going so wrong in Saxony right now, the loud silence and everyone huddling together or shouting at each other on 3 October on the Day of German Unity - there are other ways."

Why are the NSU murders an interesting topic for theatre?
Theatre can make abstract things emotionally visible. For me, "Undiscovered Neighbours" has two sides: On the one hand, there are the neo-Nazi structures that were undiscovered and have still not been fully investigated. The term "cell" is often used in a trivialising way. But isn't it rather a network in which an incredible number of people are involved? The supporters of the NSU scene are still active. The other side is the perspective of the migrants. It's not just the victims' families that are affected, but millions of people who see that the state is not interested in protecting their right to life. They see the NSU murders as a failure of the state and, in the worst case, withdraw from the democratic process. This perspective is hardly recognised here in Saxony. We want to make that visible. It's about the fundamental values of democratic society.

A theatre with a pointing finger? Who do you want to reach?
We definitely want to reach people who are interested in art. We have also involved schools. The plays are not instructive. But I hope they will be surprising in their perspective. It won't be feel-good theatre, the topic is too controversial for that. But other cities are also showing that you can actively tackle social problems. Theatres in other cities are always full for these plays.
We want the institutions to take part and learn from this what an important role they play in the social discourse. This is not something that a small civil society initiative can achieve. The big players, such as theatres, universities and museums, can.
In addition to the theatre performances, there will also be a supporting programme with panel discussions, exhibitions and installations. In an audio installation on Johannisplatz in Chemnitz, visitors can record texts in specially installed telephone booths that will be played back later. And there are numerous dialogue events ranging from classic lectures to poetry slams.

A few days ago, a suspected IS terrorist was discovered in Chemnitz who probably wanted to prepare an explosive attack. Did you discuss this under the title "Undiscovered Neighbours"?
There are certainly parallels, but of course there are also major differences. There are similarities in the forms of violence and in the situations of fear that are triggered. However, every form of extremism has its own complexity, and we don't want to confuse the two, but rather focus on the particular significance of right-wing extremism. It is much more about encouraging society to recognise the signs. The fact that a picture of Adolf Hitler hung in the NSU trio's cellar was considered normal by the neighbours. Society needs active citizens who stand up for our fundamental values.

How did you work on the theatre project in Chemnitz?
We carried out an art project in Zwickau in 2013. The house where the NSU trio lived was demolished and there is now only a large grassy area to be seen. We held a symbolic ground-breaking ceremony there at the start of the trial. And we handed this piece over to the Lord Mayor. Even then, we were accompanied by the press. That was our first signal of how to activate political discourse through art. We did three more campaigns. For example, we presented the "Golden Hare" award to the Office for the Protection of the Constitution with the motto "My name is Hare, I know nothing". We held the award ceremony right on his doorstep.

A theatre meeting grew out of these actions?
It started with a theatre play that we are now doing and which will focus on the NSU support structures. "Beate Uwe Uwe Selfie Klick" will be premiered on 2 November in the puppet theatre. We then asked foundations and partners whether they would support us in turning it into a major theatre event. And that was very well received.

Were there no reservations?
You can't push ahead with a project like this silently. But the institutions were nevertheless very quick to get on board and support us. Some people are already saying that the process is not yet complete and that we can only talk about it once there is a court judgement. But there are ready-made parliamentary committees of enquiry. And art is also allowed to depict and accompany the process. I was surprised at how many people were interested in the project and took part. We were able to awaken dormant potential. I think that's really good. There are a lot of people who are taking a stand against right-wing extremism.

After two years in Chemnitz, what is your impression of the city?
You can still do something in Chemnitz. It's not too small. I like the city. There is a very open scene here. We were warmly welcomed straight away. You don't get lost like you might in Berlin or Leipzig. I have the feeling that people like it when you get involved. There's still an incredible amount to do.

Do you have to encourage the people of Chemnitz?
Yes, you can definitely do it. There are great institutions here, such as the theatre or the State Archaeological Museum. You can make a lot out of them. If you want urban discourse to take place somewhere, then the institutions have to move and you need an active urban society that shows that it wants to have a say. Both must realise that they want something from each other.