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SCHAUBÜHNE BERLIN
TRUST
A project by Falk Richter and Anouk van Dijk
Direction and choreography by Falk Richter and Anouk van Dijk
WHEN
Thursday 24 February–Wednesday 2 March
WHERE
His Majesty's Theatre
This performance is 1 hour and 45 minutes with no interval
Supported by
Performed by
Peter Cseri
Anouk van Dijk
Lea Draeger
Jack Gallagher
Vincent Redetzki
A co-production with anoukvandijk dc
11 FEbRuARY– 7 MARch
perthfestival.com.au
GERMANY
Judith Rosmair
Kay Bartholomäus Schulze
Stefan Stern
Nina Wollny
Malte Beckenbach (musician)

2
Schaubühne Berlin
TRuST
A project by Falk Richter and Anouk van Dijk
Performed by
Peter Cseri
Anouk van Dijk
Lea Draeger
Jack Gallagher
Vincent Redetzki
Judith Rosmair
Kay Bartholomäus Schulze
Stefan Stern
Nina Wollny
Malte Beckenbach (musician)
Direction and Choreography ..... Falk Richter and Anouk van Dijk
Stage Design .................................................................................................. Katrin Hoffmann
Costume Design .................................................................................................... Daniela Selig
Music .................................................................................................................... Malte Beckenbach
Dramaturgy .......................................................................................................................... Jens Hillje
Lighting .................................................................................................................... Carsten Sander
A co-production with anoukvandijk dc
Supported by the Nederlands Fonds voor Podiumkunsten+,
the community of Amsterdam (Gemeente Amsterdam) and
the embassy of the Kingdom of the Netherlands.
ABOUT THE PRODUCTION
In TRUST, Falk Richter, author and director, and Anouk van
Dijk, dancer and choreographer, and an ensemble made
up of actors from the Schaubühne and dancers from the
anoukvandijk dc company, explore the shaky foundations
and mechanisms of human bonds against the background of
current crises.
Relationships build up and break down in ever shorter
timescales; they become a resource in an increasingly intense
competition. Binding, separating. Buying, selling. A picture is
presented of human beings who, over the years, have radically
intensified modern individuality and celebrated independence
as an ideal.
ANOUK VAN DIJK
Choreographer
At the age of 15, giving up her dream
of being an astronomer, Anouk van
Dijk decided to become a dancer
and entered the Dans Academie of
Rotterdam. At the end of her studies,
she worked with the Rotterdam Dance
Group ballet and the Pretty Ugly Dance
Company. Very quickly, she created
her first choreographies, but concurrently continued her
career as a performer. It was not until 1998 that she decided
to devote herself to her own shows and to teaching her
personal technique, the ‘counter-technique’. Based on the
dancer’s freedom, velocity, rapidity and virtuosity, she asks
the performer to execute for each movement he makes on
the stage, an opposite movement – a rule which generates an
‘irregular’, intriguing and generous choreography. In 2000, she
staged Nothing Hurts with Falk Richter. TRUST is their second
collaboration.
Q&A WITH ANOUK VAN DIJK
You created the counter-technique style. What were you
trying to reveal or express when you created it that couldn’t
be expressed in more conventional styles of dance?
Counter-technique is not a style, but a way to use the body
and mind while dancing. It affects the way a dancer thinks and
makes choices, in training, in creation and on stage. Instead of
using a centre in the body to maintain balance in dancing, as
in more conventional dance techniques, in counter-technique
dancers use a counter direction to each movement they make.
This creates a very dynamic balance and the counter direction
helps the dancer to adapt their balance easily the moment the
movement changes direction. It gives them a lot of freedom in
dancing and increases their range of movements enormously.
Dancers become very fast in changing directions and they can
take a lot of risks without injuring themselves.
How did your collaboration with Falk originate?
We met more than ten years ago when I had just begun as a
choreographer but when I was also still working as a dancer
for Amanda Miller’s Pretty Ugly Dance Company. Falk had just
graduated as a director and as a summer job he picked up
dance companies from the airport for a festival in Hamburg.
On one of those bus rides we met and we soon started talking
about the differences between our professions. We found out
we shared a lot of artistic interests and soon afterwards we
decided to collaborate together for the first time. We created
Nothing Hurts for two dancers, two actresses and a DJ. This
became a big success in Germany, and the piece was even
selected for the prestigious Theatertreffen in Berlin. Afterwards
we both became very busy starting up our own individual
careers, so it wasn’t until 2007 that we decided to collaborate
again, which resulted in TRUST in 2009. In 2010 we created
another work, PRoTecT Me, which premiered in October.

TRUST is a symbiosis of text and movement. How do you
and Falk approach the creation of the work?
In the beginning we talked a lot about what is happening
around us at the moment. In our lives, in society, in politics, in
art. What is happening around us, where we are we now, in this
time of our lives, in our 40s. We saw a lot of people around
us who seemed to be under constant pressure. Excessive
demands became one of the key words we used when we
started to work on the creation. People are exhausted and
they still keep going on, no matter what. At the same time
the financial crisis hit worldwide. We saw how seemingly solid
systems started to collapse, how people were losing trust
in the political system. Falk started to write about this, and
parallel to this how a crisis can hit a relationship and break
mutual trust. I started to look into how these forms of pressure
and deceptions were affecting people physically. We would go
back and forth in suggesting ways of improvising and both the
actors and dancers would use the same assignments.
I would slowly start to form movement sections out of these
improvisations and Falk would bring in more texts. From here
we kept on going back and forth in forming the piece.
How do you approach working with actors who may have
limited dance training?
The actors we work with are very sensitive people and we had
some great instinctual movers among them. Since we started
to work physically from day one of the rehearsal process,
moving became very natural for everyone to do. I would look
at how the actors would move by themselves and they would
get inspired by how the dancers were moving. From here we
slowly formed a movement language that would fit every actor
individually well. And the way the actors were moving was also
influencing and inspiring the dancers.
Berlin is a ‘hotspot’ for cutting-edge creativity at the
moment. How does TRUST relate to what is currently
happening in Berlin and in European theatre in general?
According to the responses we have received from both
audience and press in Berlin, and also in the rest of Germany,
France and Holland, TRUST speaks a lot about the state our
society is in right now and at the same time works in a form
that is fresh in approach of how these topics are usually being
addressed. As far as I know there are very few choreographers
and directors collaborating in equal partnership right now. So
that might be something we are contributing to across the
artistic landscape of Western Europe right now. And there’s
an appetite for more!
FALK RICHTER
Director
Falk Richter, born in 1969 in Hamburg,
is one of the most important German
playwrights and directors of his
generation. His plays have been
translated into more than 25 languages
and are produced all over the world. His
work constantly explores the issues of
how the market system, globalisation
and the ideology of efficiency influence people’s lives. Ways
of speaking, thinking, acting, feeling and interacting with
each other, the loss of intimacy and the search for authentic
deep relationships are all integral issues. How do we function
according to modern market? Where can we create moments
of privacy? How can we create moments of stillness and
tenderness in a world that is striving onwards at a high
speed, where the market seems to be the only value, where
relationships become just as flexible as work projects and
where it feels like we are working all the time and all we do is
take care of our careers at full speed with no goals in sight?
And the question: how can SUBSTANTIAL LIFE actually
HAPPEN?
Plays include: Alles. In einer Nacht. (1997), Kult Geschichten für
eine virtuelle Generation (1997), Gott ist ein DJ (1998), Nothing
Hurts (1999), Peace (2000), electronic city (2002), Sieben
Sekunden/In God We TRUST (2003), Deutlich Weniger Tote
(2004), Das System (2002), Unter eis (2004), Hotel Palestine
(2004), eine kurze Verstörung (2005), Die Verstörung (2005),
Verletzte Jugend (2006), Im Ausnahmezustand (2007), TRUST
(2009), PRoTecT Me (2010).
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4
Q&A WITH FALK RICHTER
Do you believe theatre can make a difference in the political
life of a society?
Yes, I do. Theatre can offer us another way of looking at our
lives, another perspective; it can raise questions that you
wouldn‘t ask yourself in everyday life. In TRUST I am dealing
with the question of how the financial crisis has affected
the way people feel, live, treat each other. How our society
is driven by the market in times when nobody trusts these
markets any more and even worse: when nobody feels anyone
can control these markets, but they control us. In the news you
can follow the day-to-day current of the market. In the theatre
you can understand how these fragmented day-to-day events
form a story and can fundamentally change human lives. You
can think, question, you can laugh about the way we live and
you can sit back for a moment and imagine which better ways
of living would be possible.
What thoughts, ideas or reflections do you hope people will
take away from seeing TRUST?
Basically they can just sit back and enjoy the show. It is
emotional and funny and entertaining and there is a lot of
beauty in the movement. It also raises some questions about
the forces that drive our society. I had a few observations and
questions concerning the enormous power of the market,
and the importance of constant growth and efficiency in our
everyday life, and I am inviting the audience to get engaged in
these questions: What are our values? Who do we trust? Do
we have the same value system for our personal relationships
as we have for our stock markets? Why is there so much state
money to save malfunctioning private banks when there is
less and less money for the arts, for education and for a public
health system?
Has your approach to writing changed since working with
Anouk in a multi-platform style?
Anouk and I worked together for the first time in 1999. We
made a show called Nothing Hurts which became a big success
in Germany and Holland and pushed our careers when we were
just starting as young artists. Then we worked on our own for
ten years, each of us developing our own language and now we
are collaborating again, bringing our two artistic approaches
together again, and that feels really inspiring. I write differently
when I write for the projects with Anouk. I do not write plays,
I write a sampler of material: dialogues, monologues, diary
entries, ideas for movement, socio-philosophical notes, ideas
for improvs ... It is a text sampler of about 100 to 200 pages
and it gives ideas for the improvisations and discussions we
have. Only 20 percent of the text I write will be spoken on
stage. The rest will somehow transform into movement or is
material that inspires discussions and improvisations and that
will be developed further during the rehearsal project. When
we lock ourselves into the rehearsal space, we really create the
play as we go. When we start, we cannot say exactly what the
outcome will be.
Has TRUST changed/evolved since you have been
touring it?
Yes, we keep working on it. Whenever we have a show, we
meet for one or two days and we keep making changes to
freshen it up. Or we watch it together on video and then
decide if there is something we still want to keep working
on. We see our way of creating as a constant process. After
the premiere of TRUST, we worked on a book called TRUST,
where we invited other artists, or people that work in the field
of politics, philosophy, theatre, science or economics to write
about the issues that we raise in TRUST. To give us feedback.
We wanted to get people engaged in a discussion: what kind
of society do we actually want to live in in the future?

We live and work in Europe, where almost every other month
a country is collapsing because of aggressive speculators that
ruin the country to raise their profits. Greece, Iceland, Ireland,
and Portugal and Spain seem to be next. They all fall like there
was a war going on. The whole idea of a United Europe –
which was so difficult to establish and is so important after
all the wars Europe has faced – is seriously challenged at the
moment. The question is: will our political stability get shaken
by the aggressive agents of a market that for the moment no
government seems to able to control? Or will the people gain
back the power over their own countries? And these were the
questions that were keeping us busy while making TRUST.
SCHAUBüHNE BERLIN
The internationally acclaimed Schaubühne Berlin produces
contemporary, experimental theatre works. Its renowned
directors have made theatre history, first at the Hallesches
Ufer and now at the theatre’s current home at Lehniner Platz,
since its establishment in 1962. The Schaubühne Berlin’s
many international tours, awards and honours for directors,
productions and the ensemble are an impressive testimony
to the enormous success of the current artistic team. Under
Thomas Ostermeier, the Schaubühne has continued to build
its reputation and no other German theatre company has a
comparable international profile. The Schaubühne’s tradition of
contemporary and critical interpretations of classic works from
Shakespeare and Chekhov to Ibsen and Tennessee Williams is
maintained by Ostermeier and resident director Falk Richter.
The company is also committed to the work of living authors,
with over 50 world premieres to its name and an annual
drama competition for young and emerging playwrights. The
Schaubühne also holds the Festival for International New
Drama (FIND), which sees the presentation of new work from
Germany and abroad over the course of a week each year.
PETER CSERI
Performer
Peter studied classical ballet in Hungary
before switching to the Codarts Dans
Academie in Rotterdam. He studied with
many internationally recognised teachers
and worked as an independent performer
in the Netherlands. He has worked
with groups including Anouk van Dijk,
Club Guy and Roni and the Hans Hof-
Ensemble. Cseri also works as an actor,
mime artist and singer.
LEA DRAEGER
Performer
Lea trained as an actor at the Leipzig
College of Music and Theatre and
was in the 2003 acting studio at the
German National Theatre in Weimar.
She appeared in Ivanov at the Bochum
Schauspielhaus and numerous
productions at the Weimar National
Theatre under Florian Scholz, Julia von
Sell, O Hilliger and Thomas Thieme. She also appeared in the
TV production Die Rettungsflieger. At the Schaubühne: Three
Sisters; The city; Intrigue and Love; A Streetcar Named Desire;
Aufzeichnungen aus dem Kellerloch.
JACK GALLAGHER
Performer
Jack studied dance with Jean Pierre
Bonnefoux at Indiana University and the
Chautauqua Institution and subsequently
at the Alvin Ailey American Dance
Center in New York. He has worked with
the Nikolais Louis Dance, ISO Dance, Zivi
Gotheiner and Neta Pulvermacher. Since
1995 Gallagher has worked as a dancer,
coach and teacher with the Anouk van Dijk Dance Company.
Since 2002 he has developed his own choreographies and
founded the Compagnie Bodies Anonymous (BA), which
has guest-performed in over 20 Dutch cities, including the
Cadance Festival and Oeral Festival, as well as seven countries
around the world.
VINCENT REDETzKI
Performer
Vincent first appeared on television at
the age of six. He was the child lead in
Andreas Dresen’s Sommer vorm Balkon
and appeared in Die Wilden Hühner.
In 2006 he won the Undine Award for
best film debut. At the Schaubühne:
The Distraction; State of emergency; A
Streetcar Named Desire.
JUDITH ROSMAIR
Performer
Judith studied at the College of Music
and Performing Arts in Hamburg.
Her first roles were at the Bochum
Schauspielhaus, where she worked with
directors Frank-Patrick Steckel, Jürgen
Gosch, Leander Haußmann, Werner
Schroeter, Frank Castorf, Dimiter
Gotscheff and Jürgen Kruse, among
others. She appeared in Die Wupper, Shakespeare’s Troilus
and cressida, Love and Intrigue, Maria Magdalena, Urfaust,
Who’s Afraid of Virginia Woolf, The Misunderstanding and The
Tempest. From 2000 until 2008 she was in the ensemble of
Thalia Theatre in Hamburg where she appeared in Hamlet,
celebration, edward Il, Desire Under the elms, Minna von
Barnhelm, cyrano!, Das wird schon. Nie mehr lieben!, Dies
ist kein Liebeslied, Ulrike Maria Stuart and Vatertag. Judith
was awarded Actress of the Year in 2007 by the critics of
Theater heute. Since 2008 she has been a member of the
Schaubühne’s ensemble. At the Schaubühne: The cut; Hamlet;
Intrigue and Love; entgrenzung.
5

6
KAY BARTHOLOMäUS SCHULzE
Performer
Kay studied at the Ernst Busch College
of Dramatic Arts in Berlin. From 1990
to 1999 he was at the German Theatre
Berlin in Gespenstersonate, Quai West,
Stories from the Vienna Woods, Torquato
Tasso, Ithaca, othello and The Blue
Bird. Since 1999 he has been a member
of the Schaubühne’s ensemble. At the
Schaubühne (selection): 4.48 Psychosis; A Doll’s House; Hedda
Gabler; The cherry orchard; Intrigue and Love; entgrenzung.
STEFAN STERN
Performer
Born in Frankfurt/Oder, Stefan was a
member of the Frankfurt Free Theatre
from 2002 to 2004 and has studied
acting at the Ernst Busch College of
Dramatic Arts since 2004. He was a
guest performer in various roles in New
Lives at the German Theatre Berlin.
At the Schaubühne: The cherry
orchard; Hamlet; Intrigue and Love;
The Pigeons; Saved; othello.
NINA WOLLNY
Performer
Nina was born in Bremen. After training
in ballet when she was young, she began
her dance studies at the Rotterdam
Dance Academy. She joined Anouk van
Dijk’s dance company anoukvandijk dc
and worked with the company on many
dance productions, such as Borrowed
Landscapes. In the last few years she has
worked as the company’s rehearsal leader. Since 1995 she has
been teaching Anouk van Dijk’s counter-technique at various
festivals and schools.
MALTE BECKENBACH
Musician
Malte was born in Berlin and educated
in Paris, Bonn and Berlin. In 1999 he
worked with Falk Richter for the first
time on God is a DJ, a world premiere
at the Staatstheater Mainz, and again on
Nothing Hurts. Further collaborations:
The Handbag, Who; Nightsongs, In the
distance; A Number. He also collaborated
with Anouk van Dijk and Tom Kühnel and has done film music
for Lars Becker. At the Schaubühne: Peace; The System 1/
electronic city; The System 3/ Amok Fewer emergencies;
Hedda Gabler; Bombed; Three Sisters; The Ugly one; Drunk
enough to Say I Love You?; The Dog, the Night and the Knife;
The Pigeons; Saved.
KATRIN HOFFMANN
Stage Design
Katrin was born in Hamburg and studied
Costume Design with Dirk von Bodisco.
Since 1995 she has been employed as the
set and costume designer at the Berliner
Schaubühne, the Deutsches Theatre
Berlin, the Hamburger Schauspielhaus,
the Vienna Burgtheater, the Theatre Basel, as well as at the
Hamburg State Opera and the Bavarian State Opera in Munich.
Since 1996 she has worked closely with Falk Richter. Their
joint production Nothing Hurts was invited to the Berliner
Theatertreffen 2000. From 2000 to 2004 she worked with Falk
Richter on productions including Mark Ravenhill’s Polaroids and
the German-language premiere of Jon Fosse’s Night Sings Its
Songs at the Zurich Schauspielhaus under Christoph Marthaler.
She designed the set and costume for the premiere of Fosse’s
Shadows in 2006 in Norway. Since 2002 she has collaborated
regularly with director Tom Kühnel, most recently as set
designer for his The creator of consumer Worlds at Basel
Theatre. Alongside that, she has worked with, among others,
Sandra Strunz, Christian Schlüter and Nicolas Stemann. At the
Schaubühne: Peace; Far Away; 4.48 Psychosis; The Seagull; The
Disturbance; Three Sisters; The cherry orchard.
DANIELA SELIG
Costume Design
Daniela was born in Munich. She studied Set and
Costume Design at the Fachhochschule Hamburg and the
Kunsthochschule Berlin-Weißensee. As a costume designer she
has worked together frequently with directors Sandra Strunz,
Peter Kastenmüller and Schorsch Kamerun. She has designed
costumes and sets for theatres including Theatre Freiburg,
Schauspielhaus Zürich, the Munich Kammerspielen and the
Schauspiel Hannover. Daniela lives in Berlin.
JENS HILLJE
Dramaturgy
Jens grew up in Milan, Munich and
Landshut. From 1989 to 1994, he
pursued Applied Cultural Studies in
Perugia, Hildesheim and Berlin. He then
worked as an actor, author and director
for independent theatre groups at the
University of Hildesheim and theatre
projects with children and young people.
In 1996, he did dramaturgy for the BAT/Festival production
Recherche Faust/Artaud before taking up the position of Co-
Director and Dramaturge at the Baracke of the Deutsches
Theatre. From September 1999 to July 2009, Jens has been
an Artistic Director and Chief Dramaturge at the Schaubühne
am Lehniner Platz.
CARSTEN SANDER
Lighting
Born in West Berlin, Carsten has been
living in Hamburg since 1992. Before he
worked in theatre he was a photographer.
He developed and created his lighting
concept over 12 years through his work
for theatre projects and performances,
as well as events, presentations and
architecture projects. He has worked as
a designer for the Hamburger State Opera, the Schaubühne
Berlin, the Deutsches Schauspielhaus Hamburg, Schaubühne
Berlin, Bayerische State Opera Munich, Schauspielhaus Zürich,
Burgtheater Vienna, the Salzburg Festival, Ruhrtriennale,
Kampnagel Hamburg and the FIFA Kulturrahmenprogramm
2006. He has collaborated with, among others, Falk Richter,
Katrin Hoffmann, Deborah Colker, Christiane Pohle, Thomas
Hamson, Sven-Eric Bechtolf, Penelope Wehrli and Sandra
Strunz. Together with the architect Katrin Spahr, he founded
the studio for lighting and interior design raumlichtbild in 2004.
At the Schaubühne: Far Away; 4.48 Psychosis; The Seagull;
Three Sisters; The cherry orchard.

HIS MAJESTY’S THEATRE
825 Hay Street, Perth, Western Australia 6000
Administration 9265 0900 Facsimile 9265 0945
Email: info@hmt.aegogdenperth.com.au
www.hismajestystheatre.com.au
His Majesty’s Theatre is managed by AEG Ogden (Perth) Pty Ltd,
Venue Manager for the Perth Theatre Trust venues
AEG OGDEN (PERTH) PTY LTD
Mr Rodney M Phillips, Chief Executive
PERTH THEATRE TRUST
Dr Saliba Sassine, Chairperson
His Majesty’s Theatre
Smoking is not permitted in the auditorium and the use of
cameras, video and tape recorders is strictly forbidden. Patrons
are requested to switch off mobile phones and watches with
digital alarms prior to commencement of the performance.
General Manager ........................................................ Rodney M Phillips
Deputy General Manager ............................................ Belinda Dunbar
Technical Manager ................................................................. Ian Studham
Assistant Technical Manager .................................. Shona Treadgold
Operations Manager .............................................................. Lizzie Coles
Administrator ................................................................. Julianna Noonan
Accounts Officer .......................................................... Genevieve Guard
Maintenance Officer ............................................................. Ken Thomas
Head Electrician ........................................................ Matthew Nankivell
Head Mechanist ................................................................ Bryce Goddard
Head Flyman ................................................................. Matthew McCabe
Head Audio ....................................................................... Sebastian Marks
Board Operator ...................................................................... Tony Gordon
Archivist .............................................................................................. Ivan King
Stage Door Keeper ......................... Helen Gortmans/Peter zappa
Booking Office Supervisor ........................................... Jenny Franklin
Front of House Managers ................................................. Meg Delahoy
........................................................................................................ Emily Thomas
................................................................................................... Narda McMahon
7

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