FALL 2017 AUDITIONS: katzelmacher

MAY 8 + 9 | 700-1000PM | MEMAUD 129

seeking performers for
TAPS FALL MAIN SEASON PRODUCTION
KATZELMACHER

INITIAL AUDITIONS: MAY 8 + 9 at 7-10PM

PERFORMANCES: NOVEMBER 2017

Stanford TAPS seeks performers for its Fall 2017 Second Stage production of Katzelmacher, by R.W. Fassbinder and directed by TAPS Ph.D. student Matt Stone. Katzelmacher performs November 2017 in Roble Studio Theater.

About Katzelmacher

Munich, 1968. A group of nine disaffected young friends go about their daily lives, working dead-end jobs, drinking beer, and sleeping around—that is, until a Greek guest worker, Jorgos, comes to town and rents a room from one of them. Jorgos quickly becomes a scapegoat for their anxieties and frustrations, and rumors begin to spread wildly after he begins an affair with one of the women—a cycle of fear, cynicism, and xenophobia that ultimately erupts into violence.

REHEARSAL SCHEDULE
Rehearsals will begin in the Fall (4-5 weekly evening rehearsals, though not all actors will be called to every rehearsal), and there may be a reading of a new translation of the script at the end of Spring Quarter.

about auditions

Auditions will be held in 30-minute group sessions. No preparation is necessary.

CHARACTER BREAKDOWN
ERICH. With Marie. Until she leaves him. Best friends with Paul. Out of a job and frustrated with his life. Aggressively xenophobic and misogynistic. The picture of male fragility.

MARIE. With Erich. Until she grows infatuated with Jorgos. Bored with her small town. Dreams of a real romance. Slightly naive, maybe willfully so.

PAUL. With Helga. Best friends with Erich. Deeply misogynistic. Resents Helga’s pregnancy and that he has to marry her. Sleeps with a man, Klaus, for pay because he can’t find work. Or maybe because he likes it. Bitter about life.

HELGA. With Paul. Best friends with Gunda. Deeply xenophobic. Is pregnant with Paul’s child, and too afraid to talk about it. Finds it easier to gossip about others’ problems.

GUNDA. Alone. Best friends with Helga. Hates Elisabeth. Is intrigued and repelled by Jorgos at the same time. Lives for gossip, likes starting and spreading rumors—less out of malice, more because it’s fun. Smart, cynical, and contrarian.

ELISABETH. With Bruno. Out of convenience, because he lives with her. More successful than any of her peers. Runs a small business and hires Jorgos as a guestworker. Others think she slept her way into success. Severe, demanding, and cold.

BRUNO. With Elisabeth. Works for Elisabeth. Lives with Elisabeth. Suspects that Elisabeth is sleeping with Jorgos, too, and is terrified and deeply emasculated by the very idea. An anxious, wounded man.

JORGOS. A Greek guest worker. Employed by Elisabeth and lives in her flat. Has a wife and two children in Greece. Carries on an affair with Marie and possibly Elisabeth.

FRANZ. With Ingrid, maybe. Pays for sex with her, but only because he genuinely likes her. Wants to be liked. Perhaps never feels liked, by anyone. Somewhat timid, but more so acquiescent and apathetic.

INGRID. With Franz, maybe. Sleeps with him (and Erich and others) for money. She’s trying to fund her aspiring career as a singer and actress, which is really a scam. Which Ingrid herself might know—but believing it’s real is the best thing she’s got. Independent and maybe a little vain.

What to Prepare

No preparation necessary; materials provided at auditions. Please come dressed to move.

ABOUT THE DIRECTOR
Matt holds a B.A. in Literature from Harvard College and an M.A. in the Humanities from the University of Chicago. His research focuses on the theatrical cultures of modern Western Europe (primarily Germany and France) and examines the relation between modes of spectatorship and political conceptions of community in these contexts. As a theater-maker, Matt works primarily as a director and sound designer. His productions of Genet’s The Balcony and Kane’s Cleansed appeared on the American Repertory Theater’s Mainstage, and he has also directed projects for Sightline Theater Company and the Dunster House Opera Society. His sound design credits include work for the ART/MXAT Institute, Fulcrum Theater, Sightline Theater Company, and art.party.theater.company. At Stanford, he recently directed Bluebeard's Castle in the Nitery Studio Theater.


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where to go

Auditioners should report to Memorial Hall Room 129. Enter Memorial Hall from the back of the building off of Memorial Way. Please arrive at least 10 minutes prior to your scheduled time to fill out paperwork.



WHAT TO PREPARE

No preparation necessary; materials provided at auditions. Please come dressed to move.