tanikō (cold love)
a nō-phantasy by Aloysia Boyd

A travel group sets out on a journey in search of a new beginning, among them Marieluise Fleißer, Alexandra Kollontai, Bertolt Brecht, and Ovid. Soon, their euphoric and bookish enactments of past utopias are challenged by the group dynamics that unfold along the stations of their revolutionary trajectory to the promised lands of pleasure. When one comrade’s heart falls ill — is it because of homesickness or due to unanswered romantic feelings towards the leader of the group? – the once clear directionality of their voyage threatens to dissolve. At the summit of collective despair, an ominous mountain demon appears and reveals an unforeseen path, less virtuous but therefore lucrative. Čto delat’, what is to be done?


Rumour has it that Marieluise (‘Aloysia’) Fleißer adapted the Japanese nō play tanikō. In contrast to Brecht’s treatment of the material in the didactic plays Der Jasager (He said Yes)/Der Neinsager (He said No), the participants in Fleißer’s revolutionary expedition would probably have hesitated as to whether they were walking on the right path between the red mountain and the brown valley. Perhaps, however, their indecisiveness would have helped them discover a different, more tentative Avantgarde that attempts to deal with the contradictory impulses of revolutionary desire.


Einem Gerücht zufolge hat Marieluise (‚Aloysia’) Fleißer das japanische Nō-Stück tanikō adaptiert. Im Unterschied zu Brechts Bearbeitungen des Stoffes in den Lehrstücken Der Jasager/Der Neinsager hätten die Teilnehmer*innen an Fleißers revolutionärer Expedition wahrscheinlich gezögert, ob sie zwischen rotem Berg und braunem Tal auf dem richtigen Weg wandeln. Vielleicht hätte ihre Unentschiedenheit ihnen jedoch zur Entdeckung einer anderen, tastenderen Avantgarde verholfen, die mit den widersprüchlichen Impulsen revolutionären Begehrens umzugehen versucht.

With Isabell Höckel, Jorid Lukaczik, Lennart Boyd Schürmann, Anna K. Seidel and Juno Meinecke

Text and Direction: Lennart Boyd Schürmann
Dramaturgy: Moritz Nebenführ
Costumes: Carla Renée Loose
Sound und Music: Stanislav Iordanov
Camera: Leo van Kann
Stage: Achinoam Alon, Marleen Johow, Moritz Nebenführ, Lennart Boyd Schürmann
Ceramics: Achinoam Alon
Hair & Makeup: Lilo Lucia Meyer
Light: Maxi Blässing

commissioned by Brechtfestival Augsburg and co-produced by OFS/Muenchner Kammerspiele, the creation of the subtitles was made possible by the scholarship “Junge Kunst und Neue Wege” of the Bavarian state.

Premiere: 5 March 2021, Brechtfestival Augsburg