Nora oder Wie man das Herrenhaus kompostiert

In the organizer's words:

145 years ago, a man named Henrik Ibsen invented a woman called Nora. Since then, she has haunted the stage as an icon of resistance to patriarchy and its greatest imposition: the degradation of the female human being to wife and mother.

In Nora or A Doll's House, the happy ending looks like this: Nora leaves her asshole husband, gives a shit about her children, gives a shit about the house in which she is mistress. Let's hear it for Nora! But who applauds Helene, the housemaid? Who applauds Anne-Marie, the nanny? Oh, you don't know her? No wonder, they are only minor characters; they are just normal people with little significance and little text, and that could be deleted too.

Outshone by the heroic splendor of the icon Nora - shining star of white feminism - the minor characters eke out their modest existence in the shadows. Silent or silent, they do the work in the Herr:innenhaus, keep the place running, prepare the ground for Nora to walk on, out into freedom.

Sivan Ben Yishai, one of the most renowned contemporary playwrights, brings the shadowy personnel into the light. In her remix of Ibsen's drama, everyone who was never allowed to speak in Ibsen's play speaks. It's about time!