Killing in the name of
Four people in a room plan an assassination attempt to rid the world of injustice. Any means is legitimate - if it serves a higher purpose. But it doesn't seem to be that simple. Arguments are tossed back and forth in the confines of the room: Law or morality, self-defence or crime? What does a human life count for? When is killing allowed and who sets the criteria?
The four most famous assassins in literary history meet: Tell, Brutus, Judith and Kohlhaas. Their stories are juxtaposed with documentary material of real-life assassins and the question of what distinguishes the freedom fighter from the terrorist is discussed. Between verbal exchanges and musical interventions, the audience becomes a pawn in the role between judge and accomplice.
In the end, it is not ideology that meets the system. In the end, it's all about the one moment: when one person takes aim at another and makes a decision.
“First and foremost there is fiction, in a gloomy club. At least that's the impression created by the impressive, highly atmospheric space that Letycia Rossi has wrested from the Lichthof theatre. Low down, at a height of just two metres, she has suspended the entire ceiling with cardboard boxes and a few twinkling neon tubes. Carelessly painted walls in dark grey frame the stage. Spectators are grouped around the edge, crouching on chairs, stools and the floor. As you enter the club, a band is playing loud, funky jazz; the concert has long since begun in some secret cellar.
Rossi's spatial assertion is as astounding as it is ingenious. The atrium theatre reality is completely suspended, as if wiped away. And later in the evening, when the spoken word, the texts, predominate and several examples of assassins bring the real present to mind, the supposed club seems to turn into an interrogation room, a prison cell or a cold concrete bunker.” – TAZ- Von Katrin Ullmann vom 07. 03. 2020
