Walking in public gained new meaning with the pandemic. An ancient and every-day ritual became an integral part of the new normality. People meet, walk, stroll through districts, play in landscapes, and perceive their environment anew with every stride.

The Walks grasps walking as a theatrical scenario – an audio-guided walk in parks, a staged walk in supermarkets or timed interactions on waters. In every city, voices, sounds, and music turn familiar places into sites and landscapes into stages, step by step through storytelling, dialogical situations, choreographed discoveries, or musical and rhythmic variations on walking.

The title of the audio-guided walk in the program of POLIS Teatro Festival 2024 is “Park”.

To use:
The Walks is an app for smartphones that you can download from the App Store or Google Play.
To start The Walks, you will receive an activation code at the beginning of the performance, which you redeem in the app.
To ensure that the app runs smoothly, you should have a current operating system (5 or later for Android or 13 or later for iOS). You will need 100 MB of storage space on your device to install the app.
You will also need headphones.
More detailed information will be available in the app. which will be yours to use also after the festival.

by Haug / Kaegi / Puschke / Wetzel

script, direction
Helgard Haug, Stefan Kaegi, Daniel Wetzel
idea, dramaturgy Cornelius Puschke
app development Steffen Klaue, Alexander Morosow
artistic coordination / audio editing (RO) Vlaicu Golcea
sounddesign / mastering Frank Böhle
music / composition Frank Böhle et al. (see individual walks)
graphic design Ilona Marti
voice recordings Rimini Protokoll, studio lärm, Lorenz Rollhäuser, Vlaicu Golcea
production manager Maitén Arns
production assistant Steven Sander
app development assistant Gaétan Langlois-Meurinne

translation Panthea (EN/FR/IT: Naomi Boyce, Aurélien Foster, Anna Galt, Erica Grossi, Vivian Ia, Adrien Leroux, Lianna Mark, Samuel Petit, Yanik Riedo, Lorenzo de Sabbata), Ondine Cristina Dascălița & Adina Olaru (RO), Alexander Schmiedel (ES)

experts / contributors Erdem Gündüz, Stephanie Haug, Katja Otto, Martin Schmitz, Antonio Tagliarini

speakers Dido Antonia Aquilanti, Maitén Charlotte Arns, Cătălina Bălălău, Maria Bărbulescu, Bente Bausum, Melanie Baxter-Jones, Vlad Bîrzanu, Coca Bloos, Rosario Bona, Liliana Bong-Schmidt, Lena Bruun Bondeson, Wera Bunge, Lène Calvez, Nicholas Cațianis, Maïmouna Coulibaly, Luisa Devins, Paul Dunca/Paula Dunker, Noa Eleodori, Paolo Eleodori, María García Beato, Carmen Ghiurco, Margot Gödrös, María Magdalena González Atao, Agnese Grieco, Melissa Holroyd, Christiane Hommelsheim, Stéphane Hugel, Timur Isik, Mmakgosi Kgabi, Lara Körte, Koffi Kra, Eva-Maria Kurz, Alexandra Lauck, Max Lechat, Nicoleta Lefter, Joshua Lerner, Daniela Lucato, Georgia Măciuceanu, Steve Mekoudja, Conrad Mericoffer, Mela Mihai, Lara-Sophie Milagro, Gabriela Pîrlițeanu, Alina Rotaru, Juan Sáenz de Tejada Urruzola, Silvia Sassetti, Ausencio Serrano Garcia, Simonetta Solder, Kamran Sorusch, Antonio Tagliarini, Rosa Antonia Uribe de Hass, Lucie Zelger, Monika Zimmering

documentation / trailer Expander Film (Stefan Korsinsky, Lilli Kuschel)

thank you Barcelona Cicle de l’Aigua, Milagro Alvarez, Ignasi Batalle Barber, Aljoscha Begrich, Peter Breitenbach, Evangelische Friedhofsverband Berlin Stadtmitte, Andreas Fischbach, Jannis Grimm (Institute for the Study of Protest and Social Movements), Ant Hampton, Lilli Kuschel, Dima Levytskyi, Jan Meuel, Barbara Morgenstern, Niki Neecke (Jardin Sonore), Ricardo Sarmiento, Hilla Steinert, Enric Tello, Valentin Wetzel, Zoï Wetzel, Gustavo Ramon Wilhelmi

a production by Rimini Apparat
in co-production with creart / Teatrelli, BorderLight – International Theatre + Fringe Festival Cleveland, European Forum Alpbach, Fondazione Armonie d’Arte, HAU – Hebbel am Ufer, Hellerau – European Centre for the Arts, International Summer Festival Kampnagel, Zona K, Festival PERSPECTIVES
supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media and the Senate Department for Culture and Europe

duration 45 min

the app is available in several languages, including Italian, English and German

Helgard Haug, Stefan Kaegi and Daniel Wetzel founded the theatre-label Rimini Protokoll in 2000 and have since worked in different constellations under this name. Work by work they have expanded the means of the theatre to create new perspectives on reality.
Rimini Protokoll often develop their stage-works, interventions, performative installations and audio plays together with experts who have gained their knowledge and skills beyond the theatre. Furthermore, they like to transpose rooms or social structures into theatrical formats. Many of their works feature interactivity and a playful use of technology. Hence, Rimini Protokoll declared the “General Assembly” of Daimler stock holders a theatre play or with “Call Cutta” and “Call Cutta in a Box” they set up a transatlantic conversation between a worker in an Indian call-centre and each audience member. With “100% City” they have created a word-wide ever newly contextualising work, where 100 statistically chosen inhabitants of the city gather on a theatre stage. Their production “World Climate Conference” mirrors the drama of the diplomatic efforts for the protection of the earth’s atmosphere at the Schauspielhaus Hamburg. For the multiplayer-video-walk “Situation Rooms” they built a hyperrealistic set in which the 20 audience members follow the tracks of people who’s biographies have been shaped by weapons. In “Utopolis” the audience is guided through the city by 48 portable speakers – to set course for shared or contradicting utopias. Recently, more and more immersive and interactive works have been created for museums, such as „win><win“ oder „Urban Nature“. The pieces “All right. Good night.” (2022), “Chinchilla Arsehole, eyeye” (2020), “Situation Rooms” (2014), “Wallenstein” (2006) and “Deadline” (2004), have been invited to the Berliner Theatertreffen. On top of that, Rimini Protokoll received the Mülheimer Dramatikerpreis for “Karl Marx: Das Kapital, Erster Band”, the German theatre award Faust, the Grand Prix Theatre from the Swiss Federal Office for Culture, the European Theatre Award, the Silver Lion at the Theatre Biennale in Venice, as well as the German Audio Play Award and the War Blinded Audio Play Prize.
Since 2003, the production office of Rimini Protokoll is in Berlin.