What does it mean to have a new heart? How does a home become a prison? What is the construction of an animal underground? For a piece development, the theater collective “Paper Tiger Theater Studio” from Beijing and the ensemble of the Kammerspiele embark on a performative research into the labyrinthine corridor systems under our skin and under our earth. At the same time, they make the current medical technology access to the human body an issue.

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Three texts are brought into connection with each other: Jean-Luc Nancy's The Intruder, Franz Kafka's The Building and Tao Yuanming's The Peach Blossom Spring. All three texts revolve around questions of isolation and exclusion, immunity and identity, the relationship between body perception and spatial experience, extreme feelings of nameless fear and exuberant joy.

 

While Kafka tells of the obsessive protection of an underground system of corridors (the building) against imaginary enemies and a hidden and utopian community beyond space and time is imagined in the peach blossom spring, Nancy tells of an intruder who enables survival: the transplanted heart in his own Body.

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获得一颗被移植的心脏意味着什么？一个提供保护的住所如何能变成为一个束缚的监狱？一个动物修建的地下洞穴是怎么回事？为了构思一个剧作， 由来自北京的”纸老虎戏剧工作室 ”和慕尼黑室内剧院(Kammerspiele)成员所组成的剧组深入地下和人体皮下的迷宫式通道系统，以表演艺术的形式展开调查研究。 同时，对当前医疗技术介入人体的方式进行反思。

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有三个文本为此提供了出发点: 让 • 吕克 • 南希(Jean-Luc Nancy)的《闯入者》(L’Intrus)，弗兰兹 • 卡夫卡(Franz Kafkas)的《地洞》(Der Bau)和陶潜的《桃花源记》。这三个文本都体现了封闭和排斥、免疫力和认同感、身体感知和空间体验以及无名恐惧和极度喜悦的主题。

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卡夫卡的讲述反映了对一个地洞系统的执着守护，以抵御想象中的敌人。《桃花源记》描述了对一个超越时空的隐蔽的乌托邦境地的寻求。而南希则关注一个使继续生存成为可能的闯入者：他体内被移植的心脏。

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