Since premiering as "100% Berlin" in 2008, Rimini Protokoll's "100% City"-format has been adapted to many cities around the world, including Melbourne in 2012. In this Australian mise-en-scène Rimini Protokoll plays in a complex way with possible audience expectations. It is this play that constitutes the focus of the following analysis. The analytical point of departure is the show's title, "100% Melbourne", which suggests that this performance provides a statistically accurate representation of a city and its inhabitants. However, towards the end of the show, a number of performers admit that they have previously falsified information on stage, thus inviting audience members to question the very nature of the performance they have experienced. This chapter shows that the performers' open admission is part of a larger, complex game with the schemata that shapes audience expectations. This study illustrates how this playful approach successfully incorporates processes of fictionalization, opening up the possibility for changes of perception and awareness.
|Title of host publication||Rimini Protokoll close-up|
|Subtitle of host publication||Lektüren|
|Editors||Johannes Birgfeld, Ulrike Garde, Meg Mumford|
|Place of Publication||Hannover|
|Number of pages||24|
|Publication status||Published - 2015|
|Name||Forum für deutschsprachiges Drama und Theater in Geschichte und Gegenwart|