music theatre



music-theatre about the end

Komposition, Konzept & Bühne: gamut inc
Libretto: Leslie Dunton-Downer
Performance: Jordan Rountree
Elektronik: Marion Wörle
Gitarre: Maciej Sledziecki
Perkussion, Saiten, Glühlampen: Michael Vorfeld
Chorleitung Köln: Rodrigo Lopez Klingenfuss
Chorleitung München: Armando Merino
Chorleitung Berlin: Antoine Daurat
Klangregie: Robert Nacken
Licht: gamut inc & Michael Vorfeld

SOPRAN: Anna Rabe, Anna Graf
ALT: Eva Marti, Verena Tönjes
TENOR: Leo Wepner, Lorenz Rommelspacher
BASS: Johannes Wedeking, Irfan Berilo




Ein Chor singt von Ernst Jünger gesammelte letzte Worte Berühmter und Unbekannter. Eine Kreatur kauert in einem Bunker am Ende der Zeit. Anna Pavlova tanzt zum letzten Mal den sterbenden Schwan. Glühlampen, Diaprojektoren und Musikmaschinen leuchten und spielen wie von Geisterhand. Das Ende kann kommen.

Gefördert durch:
Ministerium für Kultur und Wissenschaft des Landes NRW, Kulturamt der Stadt Köln, NRW Landesbüro Freie Darstellende Künste, Kulturreferat der Landeshauptstadt München und Schwere Reiter Musik, Bezirksamt Pankow von Berlin.






losely based on a short story by David Foster Wallace

for performer, electronics, music machines and video-projections

In times of digital euphory and fatigue at the same time the piece questions the concept of "future" and enters the field of progress, Utopia and technophilia. The piece is based loosely on a short story of David Foster Wallace. The story is being retold from a retelling about a small jungle civilization's advancement and eventual downfall as it interacts with an exceptionally brilliant child/guru. This framework interacts with found footage, like for example frequently asked questions by Google or excerpts from UNA bomber Ted Kaczynski´s manifesto. Projections and "talking heads" shot by video Artist Zan Lyons, slides, pre-produced texts and the performer Jörn J. Burmester will present the piece on stage. Dark and delicate electro acoustic and electronic tunes, delivered by gamut inc´s retro futuristic, self built and computer driven music machines, forming a technic totem pole in the centre of the stage, will carry the piece through rise and fall of civilisation, as it is retold by someone who was himself told by someone who overheard it on a United flight, told by one passenger to another. The story is given several possible versions and endings, nobody knows which version is true, because information has no weight.

performed 2015 at Brotfabrik Berlin, ARTheater Cologne and Schwere Reiter Musik Munich

for more see:


music-theatre about music and war

for performer, electronics, drums, electric guitar and videoprojection

Music was instrumentalized through all ages. In ancient wars bagpipes and drums were used to stoke up ones troops - or to scare off the oponent's. No dictatorship without propaganda-songs. Morale-boosting paroles are musically embedded. Music is a weapon and a torture-instrument. Compositon of promotional jingles is a profitable field of work. Meditation music sedates. The list is endless. In the music-theatre GHOST TAPE XI  Maciej Sledziecki and Marion Wörle let the sound-shadows talk. They speak about the dark side of music distribution in which science, belief, conspiration and speculation enmesh to a grotesque spectacle. About the bipolar nature of sirens. And finally about what Doris Day has in common with the atomic bomb.

performed in 2013/2014 in Alte Feuerwache Cologne, Schwere Reiter Musik Munich, Audio Art Festival Krakow and Uferstudios Berlin 2017

Marion Wörle:  composition, electronics
Maciej Sledziecki: composition, guitar
Christian Reiner: narrator
Andrea Belfi, Colin Hacklander: drums
Jacques André Dupont: video-scenography
Robert Nacken: sound-direction
Catalina Fernández: light-design
Guido Möbius, Nora Gores: PR

for more see

gamut inc