Where are we foreign, where are we at home? When does wanderlust magically draw us out, when are we afraid of the foreign? When does patriotism turn into nationalism? Isn't it ultimately a game of chance whether we were born in the right place at the right time in history?

Robert Schumann's Liederkreis op. 39 on poems by Joseph v. Eichendorff and Elfriede Jelinek's text Wolken.Heim, which revolves around German identity, have something in common: they are about home and foreignness, being uprooted and longing, exclusion and togetherness. The multimedia concert performance WOLKEN.GRAT not only blurs the boundaries between classical song recital, theatrical performance and the images of a film installation, but also the boundaries between the identities of the virtual and analog stage characters, between the inside and the outside, the I and the we.

In the film, a lonely hiker in a smart suit sets off into the mountains. A camera accompanies him: images of nature, clouds, rain, thunderstorms, sunbeams, views of valleys, silhouettes of peaks and green forests are the backdrop to his increasingly manic monologue, consisting of excerpts from Elfriede Jelinek's WOLKEN.HEIM. He is increasingly exposed to the forces of nature as well as his circling thoughts - the hike becomes a tightrope walk in constant fluctuation between arriving and falling. The film installation merges with the live action on stage:  Robert Schumann set 12 poems by Joseph von Eichendorff to a sometimes intimately yearning, sometimes ambiguously torn search for home and foreign lands.

Where are we foreign, where are we at home? When does wanderlust magically draw us out, when are we afraid of the foreign? When does patriotism turn into nationalism? Isn't it ultimately a game of chance whether we were born in the right place at the right time in history?

Robert Schumann's Liederkreis op. 39 on poems by Joseph v. Eichendorff and Elfriede Jelinek's text Wolken.Heim, which revolves around German identity, have something in common: they are about home and foreignness, being uprooted and longing, exclusion and togetherness. The multimedia concert performance WOLKEN.GRAT not only blurs the boundaries between classical song recital, theatrical performance and the images of a film installation, but also the boundaries between the identities of the virtual and analog stage characters, between the inside and the outside, the I and the we.

In the film, a lonely hiker in a smart suit sets off into the mountains. A camera accompanies him: images of nature, clouds, rain, thunderstorms, sunbeams, views of valleys, silhouettes of peaks and green forests are the backdrop to his increasingly manic monologue, consisting of excerpts from Elfriede Jelinek's WOLKEN.HEIM. He is increasingly exposed to the forces of nature as well as his circling thoughts - the hike becomes a tightrope walk in constant fluctuation between arriving and falling. The film installation merges with the live action on stage:  Robert Schumann set 12 poems by Joseph von Eichendorff to a sometimes intimately yearning, sometimes ambiguously torn search for home and foreign lands.