In 2016, the Hawaii State Theatre Council and HittingTheStage.com joined forces to create a source of information about Hawaii's local theatres and the community of playwrights, directors, crewmembers, actors, volunteers, and audience that support it. Welcome to our new website!

Workshop by Helgard Haug on "The Immersive Theater Projects of Rimini Protokoll"

Workshop by Helgard Haug on "The Immersive Theater Projects of Rimini Protokoll"


April 2, 4, and 6: A Workshop by Helgard Haug on "The Immersive Theater Projects of Rimini Protokoll"


April 2, 12:00pm-1:15pm, iLab (UHM)

1) Who is Performing? Working with "Real People"

“They were real people.” Anyone who has seen a Rimini Protokoll piece for the first time and tells other people about it, will probably not be able to avoid using this sentence if she/he wants to explain what is unique about the group’s approach. The bafflement that all too often shows on the face of the listeners, reveals that such a succinct assertion is not especially revealing. Don’t you always see real people in the theatre? Is a repertory actor somehow a fake person? Is not the performer’s identity and physicality inextricably linked to their performance?

On this first day of the workshop we will focus on the question who the protagonists of Rimini Protokoll productions are.


April 4, 12:00pm-1:15pm, iLab (UHM)

2) How to Perform a Whole City?

Rimini Protokoll’s work differs from most documentary theatre and resembles performance art: it tends to take place in a version of “real time” rather than “dramatic time.” Whether one thinks of the German political documentary theatre of the 1960s (Weiss, Hochhuth, Kipphardt); major U.S. documentary performances from the 1970s on (Emily Mann, Anna Deavere Smith, Moisés Kaufman); or British work in so-called “verbatim theatre” from the 2000’s (My Name is Rachel Corrie, Robin Soan’s Talking to Terrorists, Nicholas Kent’s Justifying War), the signified is always primarily elsewhere, already happened, is just re-enacted or referred to. Bringing everyday experts onto the stage (rather than actors re-performing interviews of those experts) already contributes to this quality of presence in real time, so that even when the everyday performers tell a story about themselves or re-enact an event from their lives with the help of other everyday colleagues (both things happen frequently in Rimini Protokoll’s work), the present time of narration becomes as important as the referred-to past. But then Rimini Protokoll often further emphasizes real time play through structural, quasi-game elements!

In the second workshop session we will focus on the project 100% City and develop own performance scores and rule sets.


April 5, 6:30pm, Earle Ernst Lab Theatre (UHM)

The Immersive Theatre Projects of Rimini Protokoll

A Free Public Lecture

Helgard Haug will present several projects by the artist collective Rimini Protokoll on their more immersive work.


April 6, 2:00pm-4:45pm, iLab (UHM)

3) Where to Perform?

In the traditional theatre the concept of space is tightly linked to the model of a container: The black box as a receptacle that is marked out by walls and can always be filled again anew. The stage, the peep box of a closed room, is screened from the outside world of urban space. The exterior stands for reality and the interior is contrasted to reality, the unreal, fictional, imaginary. But theatrical space can be thought of more expansively. It comprises audience as well as performers. The way the space is structured determines how stories can be told and viewed: Who is looking and who is performing? 

In this this workshop session we will focus on different theatrical settings in urban space and on different ways of how an audience can be placed in(to) this setting. 

Young Jean Lee’s In-your-face Script Continues EVOLVE’s Inaugural Season

Young Jean Lee’s In-your-face Script Continues EVOLVE’s Inaugural Season

Shazam! SuperHero Workshop at Aloha Theatre

Shazam! SuperHero Workshop at Aloha Theatre