{"id":5265,"date":"2022-07-20T20:26:12","date_gmt":"2022-07-20T18:26:12","guid":{"rendered":"https:\/\/www.jes-stuttgart.de\/person\/yesim-nela-keim-schaub\/"},"modified":"2024-10-24T10:55:19","modified_gmt":"2024-10-24T08:55:19","slug":"yesim-nela-keim-schaub","status":"publish","type":"person","link":"https:\/\/www.jes-stuttgart.de\/en\/person\/yesim-nela-keim-schaub\/","title":{"rendered":"Ye\u015fim Nela Keim Schaub"},"content":{"rendered":"\n

I was born in Bremen in 1996 and first came into contact with theatre there. I interned and assisted at Theater Bremen. In 2018, I founded the f.e.t.t.kollektiv with friends, with whom we realised immersive theatre performances in the independent scene. Since 2018 I have been studying directing at the University of Music and Theatre in Hamburg<\/a> \u00a0. In this context, I staged the play \u2018CRASH\u2019, which was shown at Thalia Theater Hamburg. At the same time, I created the productions \u2018Keine Landschaft\u2019 at the drama school of the University for Fine Arts in Graz and \u2018Die 13 Ballacks\u2019 at Hamburg Schauspiel-Studio Frese, as well as the play \u2018Luft nach Oben\u2019 which is currently being performed at Stadttheater Gie\u00dfen.<\/p>\n\n\n\n

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Ye\u015fim Nela Keim Schaub is the director of \u201cWarum das Kind in der Polenta kocht\u201d in the 2022\/23 season.<\/p>\n\n\n\n

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Photo: Andreas Etter<\/figcaption><\/figure>\n\n\n\n\n\n
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Photo: Andreas Etter<\/figcaption><\/figure>\n\n\n\n\n\n
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Photo: Andreas Etter<\/figcaption><\/figure>\n\n\n\n\n\n
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Photo: Andreas Etter<\/figcaption><\/figure>\n\n\n\n\n\n
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Photo: Andreas Etter<\/figcaption><\/figure>\n\n\n\n\n\n
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Photo: Andreas Etter<\/figcaption><\/figure>\n\n\n\n\n\n
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Photo: Andreas Etter<\/figcaption><\/figure>\n\n\n\n\n\n
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Content<\/strong><\/h2>
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\"I only know my country by smell. It smells like my mother's food. My father says you remember the smell of your country everywhere, but you only recognise it when you're far away.\"

\"Warum das Kind in der Polenta kocht\" is the story of a young girl growing up between two worlds: the colourfully transfigured homeland of circus and caravan and the harsh reality of being a constant stranger on the road.

An actress and a young girl on stage at JES confront the story of Agalja Veteranyi. Together with director Ye\u015fim Schaub, they search for the multi-layered, <\/em>sometimes contradictory multilayered feeling of being a stranger via the opposing views of the characters, which are repeatedly interrupted by precise imagery, and deal with it impressively.

How is it possible to share the experience of homelessness despite different histories, ages and backgrounds? Especially in times of ongoing wars and refugee movements, Aglaja's search for a place she can finally settle intersects inseparably with the reality that surrounds us.

\u00a9 1999 by DVA Verlag, in the Penguin Random House Verlagsgruppe.<\/p>\n<\/div><\/div>\n\n\n\n

Notes on sensory stimuli<\/strong><\/h2>
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Sensory impressions such as bright light, loud noises or sudden events can be overstimulating or overwhelming for some people. That's why you'll find a list of sensory stimuli in \"Warum das Kind in der Polenta kocht\" here. They may be good to be aware of for you or someone who is attending the performance with you.

- A few minutes after the performance begins, the light flickers and several points of light move through the room. The light briefly shines into the auditorium. The effect lasts approx. 15 seconds.

- Use of music and dripping noises.

- Weak light, darkness, rapid light changes and flickering light tubes. Attention: Stroboscope-like effects will be used for a brief moment. Feel free to contact us!

- Feathers and water fall\/drip from the ceiling onto the stage.

- A raw onion is eaten, which produces a strong, typical odor.

- Use of a wind machine to the right of the stage set, causing a curtain to move slightly back and forth.

- On stage, artificial hair hangs around a scaffold, which the players climb up, hang down and disappear into. Sometimes they can only be seen with individual body parts.

- The players show big emotions.

- The players speak to the audience and occasionally play to them.

- In one scene, a player scratches her thigh audibly and quickly for about 10 seconds.

- A player washes her hair with a white, milky liquid.

- In one scene, the two players spit into a bathtub. Later, they show the audience the saliva stains.

If you have any concerns or questions, please contact us at ticket@jes-stuttgart.de<\/strong><\/a>.<\/strong> We will be happy to advise you and work out together how we can help.<\/p>\n<\/div><\/div>\n\n\n\n

Content Notes<\/strong><\/h2>
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This play deals with themes of homelessness and abandonment by parents. Stories from life in a children's home are retold.
In one scene in the play, thoughts of self-harm and suicide are alluded to for a moment.<\/p>\n<\/div><\/div>\n\n\n\n

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Ages 12 and up, grades 6\u20139
Duration: approx. 65 minutes
Prices: Children\/young adults \u20ac7.00, adults \u20ac12.00
Venue: Upper Foyer (Seating capacity 60)<\/p>\n\n\n\n

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\nhttps:\/\/www.youtube.com\/watch?v=hiKgT1esp3g\n<\/div>
Video: Adrian Schmidt<\/figcaption><\/figure>\n","post_title":"Warum das Kind in der Polenta kocht","post_excerpt":"\u201cWarum das Kind in der Polenta kocht\u201d is the story of a young girl growing up between two worlds: the colourfully transfigured home of the circus and caravans and the harsh reality of being a constant stranger on the road.","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"warum-das-kind-in-der-polenta-kocht-2","to_ping":"","pinged":"","post_modified":"2024-07-22 14:24:27","post_modified_gmt":"2024-07-22 12:24:27","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.jes-stuttgart.de\/warum-das-kind-in-der-polenta-kocht\/","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":23948,"post_author":"13","post_date":"2024-07-18 10:05:16","post_date_gmt":"2024-07-18 08:05:16","post_content":"\n\n\n
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PREMIERE: 03.05.2025<\/p>\n\n\n\n

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Content<\/strong><\/h2>
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\u2018Maybe djinns are this: Trruths that are always there, that are always in the room, whether you like it or not, but that you don't put into words in the hope that they will leave you alone.\u2019 Four siblings travel from Germany to Turkey for their father's funeral. They do not travel together, but set out on their respective journeys alone. They have been fundamentally different in this family for a long time, perhaps they always have been. At the very least, they have all taken a different direction in their lives, with different attitudes, desires and fears. During the course of their journeys, their pasts, their childhood and youth emerge and the path to their identities becomes visible.

\u2018Djinns\u2019 is about what it is like to lose one's father and the connection to one's origins. A group of young people from Stuttgart will take to the stage at JES and invite us into a space of remembrance, mourning and empowerment with \u2018Djinns\u2019. Their own post-migrant realities will become part of the production. For the second time, we are working together with Ye\u015fim Nela Keim Schaub (director of \u2018Warum das Kind in der Polenta kocht\u2019).

Performance rights: Fatma Aydemir, Dschinns \u00a9 2022 Carl Hanser Verlag GmbH & Co. KG, M\u00fcnchen
Stage adaption by Ye\u015fim Nela Keim Schaub, Alina Tammaro und Ensemble<\/p>\n<\/div><\/div>\n\n\n\n

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Ages 14 and up \/ grades 8 and up
Venue: Upper foyer (capacity 80 seats)<\/p>\n\n\n\n

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