It's The Real Thing - Basler Dokumentartage 17
5.-9. April 2017
It's The Real Thing 17
mit: Olaf Breuning, El Conde de Torrefiel, Diederich Diederichsen, Goerger & Defoort, Ursula Martinez, MedingScheerTibbe, Monster Truck, Kim Noble, Boris Nikitin, Robert Pfaller, Laura de Weck, Worst Case Szenarios, Benedikt Wyss, Oliver Zahn & Julian Warner
Artistic director, program: Boris Nikitin
Production managment: Clara Becker
Assistance production management: Kim Egi
Assistance to Olaf Breuning: Alexandra Adler
A Project by Paraform Produktionen.
In cooperation with Kaserne Basel, Theater Roxy Birsfelden, Markthalle Basel und EG Lounge Parterre.
Supported by: Swisslos-Fonds Basel-Stadt, Swisslos-Fonds Basel-Land, Ernst Göhner Stiftung, Pro Helvetia, Fondation Nestlé pour l'Art, Christoph Merian Stiftung, Stanley Thomas Johnson Stiftung, Migros Kulturprozent.
Thanks to: Zeisch Events, Bravo Ricky Innenarchitektur & Szenografie
Program & Tickets
Artistic director, program: Boris Nikitin
Production managment: Clara Becker
Assistance production management: Kim Egi
Assistance to Olaf Breuning: Alexandra Adler
A Project by Paraform Produktionen.
In cooperation with Kaserne Basel, Theater Roxy Birsfelden, Markthalle Basel und EG Lounge Parterre.
Supported by: Swisslos-Fonds Basel-Stadt, Swisslos-Fonds Basel-Land, Ernst Göhner Stiftung, Pro Helvetia, Fondation Nestlé pour l'Art, Christoph Merian Stiftung, Stanley Thomas Johnson Stiftung, Migros Kulturprozent.
Thanks to: Zeisch Events, Bravo Ricky Innenarchitektur & Szenografie
Program & Tickets
After questioning the representation reality in 2013, taking a look on the production of the public by PR and propaganda, the 2017-issue focuses on the dark clown of the documentary: satire!
It's about polemics, about pushing the boundaries of taste, about the deconstruction of correctness and about how the new right wing has appropriated the technologies of comedy in order to make their point in the competition of narratives.
It's about post-2016.
It's about polemics, about pushing the boundaries of taste, about the deconstruction of correctness and about how the new right wing has appropriated the technologies of comedy in order to make their point in the competition of narratives.
It's about post-2016.