Which came first, the woman or the tragedy?
Pertinent publications of a religious nature provide a clear answer to this one, but the only thing we know for certain is that a tragedy without a woman is only half as wonderful, if at all.
Because women have always been the most rewarding object of projection: the chaste female seeking protection, the wicked witch, the uninhibited lover, the wild redhead, the mother of the nation, the dumb blonde, the passionate spy, the noble saint, the almighty goddess.
It is impossibly to make even a vaguely normal choice between the stake, the labour of love, the plenitude of power, and pregnancy. Has the search for genuinely liberated women always been nothing more than a delusion? And is that a good enough reason to give up on it?

Is there anything more neutral than train stations, anything more democratic than tram stops and anything more dispassionate than bus shelters? Is there anything more secure than departures and anything more consequential than arrivals?
Is there anything clearer than being in transit and anything more structured than transfers!
Is there anything more purposeful than waiting?

GIRLS & STATIONS will predominantly be performed at places of transit in cities, which bear girls’ names: Mercedes in Argentina, Clara in Ireland, Birka in Sweden, Unna in Germany, Arna in Norway, Claudia in Brazil, Malina in Poland, Martina in Switzerland, Leika in Greece, Paola in Italy, Sofia in Bulgaria und Charlotte in the US. Denominational add-ons like, for example, Santa Maria are excluded as much as geographical suffixes such as Yekaterinburg.

The location-specific performances will be taken on by an ensemble which consists of a minimum of 50% of female performers bearing the name of the respective location. This gives rise to a new combination of professional, creative people for every single performance, bridging different genres, and stemming from different backgrounds and generations.

Even if this is about three token guys, there should not even be a hint of suspicion this might be in fact a gender-based project: Vicente in Lisbon, Casanova in Italy and Schiller in Germany: ravens played with one, the next had countless adventures and the third is still subjected to awards being given out in his name. But shouldn't all of them have already been liberated from being prejudged and devalued by history?