What seemed absurd yesterday is already normal today? The Dresden choreographers and performers Beach/Schubert/Weniger bring the seemingly endlessly uprooting daily excitement curve to the stage as a soap opera musical. Inspired by musicals and soap operas, associative performances, media art, wigs, DIY videos, sung songs, dilettantism, coffee, newspaper ads, memes, free boxes and highly professional blah-blah, they plunge into their first joint collaboration. On their dadaistic journey into the abysses of the sensational present, they drag the audience from climax to climax with their suspect hit voices and expressive stage events. We feel the conditions of our political, social and economic systems more and more incomprehensible, absurdity becomes more and more normal. If something becomes nrml (syn. e.g. on the agenda, naturalized, commonplace), it is difficult for us to perceive it as unbelievable, terrible or annoying for longer. K.K. (including crazy Internet hypes) can surpass the nonsense of the reality in which we live, because, we, are, today, ((standjanuarztwo thousand nineteen)), more easily, invaded by, feelings, than, by, arguments aka frogs. With shame red face we make stepchildren and a sensational soap opera musical: OPOTFOTF. What is it today? Is it the normalization of what was unbelievable yesterday? The politician*inner beard was perhaps half finished, but people make mixed drinks, as the old proverb and Mother Nature says: We know that this can be difficult times for navigation, but we believe that we have the question and answer: O-P-O-T-F-O-T-F. In this philosophy of language, the global idea of a feeling, also known as a model monkey, is different and an attempt has been made to find a coherent approach to distinguish the truth from the annoying tissue paper on the Internet – an attempt word.
Opotfotf combined Musical and Soap Opera Elements in absurd and dadaistic ways. In terms of sound it was my attempt to captivate the spectators and create illusion of being in classical musical stuations just to subsequently deconstruct and disrupt them, over and over again. My Live Set was mainly focused on live processing voices to embed them in the music, put them into virtual spaces and setting bizarre accents through effects and automations. So it was possible to fit the singing perfectly to the songs, change moods within seconds and create acoustic illusions.
