It’s the super election year 2024. Sitting at his desk in Berlin, Thomas Köck keeps an eye on Austria. Numerous open tabs on his laptop show digressions into some personal research in addition to   trying to make out historical layers and entanglements of old money and current politics. Thomas Köck’s chronicles go far beyond the usual format of theatre. He comments, looks at certain events, while ignoring others. How do you write about a world that is upside down? The text admits its own vulnerabilities, while still cautiously looking for a way out of this overload of media information – without any claim to completeness, let alone a guarantee. 

Just before the parliamentary elections in Austria, six performers, one musician and the directing team have worked on this chronicle, confronting our political present just like the text itself. They have entered into negotiations, agreed on some issues while disagreeing with others. How close can theatre get to the pulse of time? Whenever someone leaves something out, someone else senses concealment. What are the rules?

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