 Watching two videos in this segment. The first one, I believe, Adelheid is the urban safari project. That's about 25 minutes. And then the second one, the crossing, the sleeping with the, going into the theaters, the state theaters and bringing people with them. Adelheid is here. She's not formally, formally doing a presentation, but in between the two videos, if you have questions that you want, some clarification, then she can answer your questions. So enjoy. And it's great what you have to ask her, when the nuns talk, or when you make a research on us. And for me, for us, a very strange thing is that, for example, people in Holland never go there, are a bit afraid to go there, they live with the idea that it's always dark there. Also in daytime, you know, the brain makes something up. So we have eight adoptives, eight actors. And it starts with what I told you that, so it's a registration. It's not really a movie or something. But we try to give an impression. And this is what you see is what the actors do every day. They call the public, what I told you, well, and the rest. Thank you so much. Where have you been? I was born in October. And then I was born here, in the early 20s. It's an apartment complex, but only Chinese. And these parents are 50 years old. It's been a year at home, so there's a lot to worry about. Routo. Routo. Ruren. What was that? Ruren is very clever. You are happy to be with children. All in university today. All in the three days. Ruren was a very young kid. We're going to see him, he's going to be with us. We'll talk about that. As you've said, I'm very happy. You have to do everything else for this year. You have to be home, study, The children spoke to each other in a different language. I spoke to a friend of mine who spoke to me in a different language. The letters I wrote to each other were written by the North. My mother wrote to me, Do good things, Give me no shame. And I wrote back, I do good things, I give you no shame. We lived together for 17 years. We lived up and down. What happened? Sinister then jizzle. In castle is tension. For so many years, in Nürburgring, you come here to the Beelder and then you come here to the school for example of integration. Those are very big words, but I know it is very important. And that you, following the image I had of Chinese, that you introduced it, that you also have a heart for me. We can stand each other, like in the movie, but I just have to calm down that you are playing in the Netherlands, on your side. And I speak Chinese, that's what they say. And yet you, and Lucien, you grow up here so much, that I sometimes think of speaking like that. And that's why I want to speak together. And I'm not going to speak to you, but I want to speak to you. I want to speak to you. I don't want to speak to you. That's why I want to speak to you. That's what it is. Let's go, let's go to the world. We're going with a line to see each other in the mirror. And we're going with the drama of the world. Shers, shers, shers, shers, shers, shers, shers, shers, shers, shers, shers. What's this? Shers, shers, shers, shers, shers, shers, shers, shers. I think it's become a trend because people have come and they keep coming. That's the last thing you can do. That's the writer, the writer is for one euro, all of his work, a great success. We're standing here in the heart of the Berlin Museum. The park is actually surrounded by the royal architects. People who were allowed to go out they didn't have to play a lot. The connoisseurs, well, they were also included in the museum. And Marjan Markelo, that's a winter priestess, who knows, I'm not going to see her. New life in Belausica. Can I sit here? Can I sit here? The only thing on our front row is when the water stimulates our spirit and our image. Can you answer the question where do you feel like you're becoming a priestess? Who is that person who stands against you? I'm a priestess. I'm a priestess. I'm a priestess. I'm a priestess. I'm a priestess. I'm a priestess. I'm a priestess. I'm a priestess. I'm a priest. I'm a priestess. I'm a priest. I'm givenかな? And you're a priestess. I'm just a priestess. Okay, I got some scare! I'm going to cross to you the next week. We're going to get the� further. We're going in with Louvain. We're going to Valub tallest Oh my mother, he doesn't want me to serve him, he doesn't want me to cook for him. My mother said, oh, this man is not normal. Well, think so later. At cost. Oh, they're all smart. What is all this? They never know what's never how, all this. They never know what they're doing. That's a 26-year-old spirit you need to know. One child then? How do you not have to work with a poor dog? My biggest fear is to be ashamed to be called a mother. It's very difficult to hear that you have a good life here. So don't test that opportunity. Until all week. Don't you want to pass you? No, I don't want to pass you. I don't want to pass you. I don't want to pass you. I don't want to pass you. I don't want to pass you. I don't want to pass you. I don't want to pass you. As a child, you don't know what to do. There is no one to save you. You want to sense, you create, you smell, you run, they eat, you get. You must swipe, they'll hold you. And they say, I can't hear if I don't understand. Do you want to ask them if they can find something they don't know? I think it's very nice, but I don't understand. I don't want to pass you. Sometimes I'm dressed like a Muslim, but I'm a Christian. You see the gentleman there? This is my European world. Yes, I'm dressed like a woman at the ABL Amur. I'm a woman, but I'm not a Christian. There is a free reception. Then you have to go on Instagram. And I come out of the stadium, and then I have the same group of people who are here. And I see a lot of people. My baby is not so fat. In this case, he is four years old. The other one is also with me. On the other side of the table, there are one and two heads. They are the wrong ones, and the upper ones are the upper ones. I saw him first at the school center in Maghreb. I got him to eat, and then he was in his post. Then he was in his program. He was very beautiful. He was beautiful. You could also see him sitting over there, in a bit of a peek. Yes. He was very beautiful. The man is always very beautiful. So when especially said, I come home again here, there is a lot of beauty here in the house. is so erotic and that you can tell if someone with a handkerchief has a feeling that they are fascinated and actually that's what happens with an actual person. Older people don't lose. I want to do it and do it. Is there any joy in being around you? I mean, no, and no again. So the one I'm looking forward to is a woman who will multi-check with me every Saturday. She'd get the better of me. For a face-to-face, I get mad. And this time, I forget the woman I'm talking to in two months. That's difficult. I think I've been doing this for a long time. I think I've been doing this for a long time. I think I've been doing this for a long time. I think I've been doing this for a long time. On the edge of the pole there is the first complex on the right of a satellite station for 110,000 inhabitants. I can't explain why it is so difficult to make it open. Here at the Breedersrohr, I have lived the last two months. The first two weeks, the colors, were on 1 and 2, because it was full stop. Here, on the Belmerwurst, there is the plethora of people, the homologues, who come in and pose their hands, cry in the crowd, look for their way. But is there a plethora? And on the back of the plethora, there is a plethora, a plethora of people who have just passed away. Cultures, which were built between the 80s and the 130s. It is a collective task, to create a society, that at some point, there should be something, something or something smaller. That is the question. There is no one to say that it is a plethora, but it is a reality. Of course, you don't want it to be a plethora. I think that it is a plethora of people who are in the middle of the world, and people who have been living in the middle of the world, And we are not so sad about it. But we are not so sad about it. We are sad about it. We are sad about it. And how can you tell me that? How? I have no idea. I have no idea. I am afraid of the sad moment. I am afraid of the sad moment. But do you have a story to tell us? You have a story, right? The system in the office, the management workers. I will put it on for the audience. Rant in the power of men. Because if they keep the system in the office, they will be able to interact with each other. They have a different story. Only people who love them, who have the power to do that. They are not as bad as the people who work here. Hotel. And I am 68 years old. I feel like, who are you here? To a spirit. Hey baby, what was that? Make that time, take that time, spend that time in that YouTube time, or at school that time. Is that your time or my time? From who is time? Or is it time, late, that your time can get better? No, it's full stretch, healthy. Blow the sister! Jump on the brush! I don't care, I don't care. And this is what I'm talking about. Good man. You begin with the community. I explain to the community. To all the people, or without the care of these people. Because you have to be brave for your day. I look at you and my blood, you have it. Kussend, Kroelend, you, your little girl. No wounds, no bleeding, no bruises, no bruises, no bruises. No scars, no bruises, no blood, no bruises. He is free. You are free. I don't care what you're doing. Sorry. I think that they want to go home. You have to understand. You're free, but you don't have to be. You're free, but you don't have to be. You have to be. I chose the perfect one for you to come home. I'm not like my baby sister. And not sensitive. No, I can't do it. I can't do it. Two years. I don't care about the little girl. No, Kroelend, Kussend, Kroelend, you are free. Three or four smells. It can go bad after the rent someone says. No. You are free. Kroelend, Kussend, Kroelend, you need to take him out. No, you are free. Kroelend, Kussend, Kroelend, do you want him. I don't care. I'm taking to the last one, only once – you have to go and take care of him. No problem. It's a beautiful, trochę good job. Oh, then, catch up. I can't see anything else. He's scaring me. He's stealing my hair back to his house. You know what I mean? I'm deaf. I don't know, I think you're deaf. Because you're in the system. What if you're deaf? What is the problem? I'm deaf here. Man, there's something wrong with this. I'm sitting in the middle of a car. I'm walking out of my house. I can't see anything else. I don't know. I don't know. What's the problem? I'm not deaf. I'm not deaf. I can't see anything else. I don't know. I'm afraid I'm deaf. I'm in a bad mood. I don't know. I'm in a bad mood. I don't know what's wrong with this. I can't see anything else. I don't know. I have a lab. I'm in the house. I don't know anything else. I'm in the room. There's nothing wrong with the instruments. I don't know. Mario is in the hood. He's in the hall. We are in the Awesome Ball tree. Since December been here. We were friends, right? America, Europe, Africa, I don't know where they are. And also I see for the time being, I'm in shock. Fuck it, but no one's talking about it. So you're crossing the Sahara? Well, I think we are people. So you are crossing the Mediterranean Sea? No, no, it's a plastic boat. Plastic boat? How many people? Some of the people. Some of the people. Some of the people. It's like a chain of smugglers. You had to have a chain. Was it at fault? Very small. I mean, I don't understand what you're saying. Basically, I go out and go to the beach. How long did you do that? Then I didn't do anything. Taylor, I went to the beach. I was walking in there for 15 days. I was there an afternoon. Winter has been nine months. I've been walking back to winter has been one year. I gave it to you. So how many people are doing it? How many children do you have? Half a certain children. They are with their mother. When the military court caught me, they beat her, and then she gave her a problem. Four, six years she died. Do you have anything to fall in love again? No, of course. It was very bad for me. Look, in my room, three by three, my most important job is to see my mother for once before she dies. To speak to her, to put her in a good mood. Then we go to the court, and we go to the court. And we go to the court. I don't want to make a problem. You were in the court, so who gave you the green light? Who gave the green light? I gave it to him. And if I didn't give it to him, I would want to get a new light. I want a new light. I want to get a new light. I want to get a new light. So under the Nationalist Party, the Palestinian refugee camps are either not visible. You have four, two children, one in a house and one in a house. In the first year of the 13th century, Yes, you go like a second mother for you. Yes, you did. One day I woke up in the morning and I was like, I called her and I told her mom, I have a secret that I've been hiding for the last 17 years. I think she already knows, some of the dates I've told her. Yeah, I know that, but you know, I wanted to grab that chance where I can't see her in front of me. She held her hand and told her that, look at her in the eyes and tell her that she deserved that. I deserve to be closer. I always imagined that my mother that I would sing that traditional song where every Palestinian mother would sing that song for her son when he wants to get engaged. But I never get married. I'm the beautiful son of God. I'm the version of you. I don't want to be beautifully married to her now. Let's say that you have the chance to get engaged. I will tell her that if I could explain myself what I really want to get engaged with her, I would accept the opportunity to get engaged with them. Okay mom, I would love you to later. The first time I see you there, I don't feel comfortable at all. Because I don't feel comfortable at all. And what's going on, ladies and gentlemen? Did you know that we had a boy and a girl? We were... We were in a relationship. When it comes to this, you're not going to get married. Yes. So as a brother, you're going to have a marriage. You're just going to take your place, right? What does that mean? Well, later. The only woman I've ever heard from in my life... I think it's cool. With your girlfriend, you're going to have your brother and your brother in for four weeks. After one and a half weeks, I finally realized that I had arrived safely. Stop. Don't come again. Stop. After that, I had to go to the church for two days. I had to go to the church. And the world started. I was eleven. I was like, hey, come in. Come in. We had a conversation. And that voice, that voice was only fifteen. The world... Well, we went into it, as they say. You remember your relationship with your girlfriend? Yes, with my girlfriend. Your girlfriend was here? Correct. Then we promised, we won't go in. Unless we look further away. I don't know if that's what I was supposed to say. I don't know. I don't think you know. No. Is that right? So you're very kind. Yeah, yeah, yeah. So what you're doing in school, you say, do I have to do something about it? And then you go back to school, and you say, do I have to do something about it? Yeah, I have to do something about it. Yeah, I have to do something about it. I think we'll be able to do this. We'll be able to do something about it. I've seen you in a junior school. The boys and girls. You were there the whole time. Hello. I just wanted to know if this performance was going for the entire day. And people went all to the same to the various locations within one performance. It's on. It's on. So did the various little encounters, did they all happen within one day? Yeah. How long did it take? Four and a half hours. Wow. Which kind of people did you get to see this performance? Because I feel like the people who see it probably are people who are already educated in that sort of cultural exchange, and the people who should be seeing it. And who are the public who should be seeing it? People wouldn't dare going there, probably. Who wouldn't even buy tickets for this. I don't know. I'm so curious what kind of people did see this kind of performance? Or what kind of outreach you did to promote this performance? Well, the thing is actually that we open it up for a large amount of people who live in the neighborhood itself. But always when I get this question, always when I get this question, I come up with the question from the perspective. Because they live there and they know it's you from the white community who doesn't. So I like actually when there is a lot of people coming from the center who buy the tickets because they have the judgmental it was even with myself. Then when Shaheen who made the music he was explaining I said, oh no, please, not this. Oh no, I hate this. Oh no, man. Oh no, not that. And that are, for example, all kind of discussions or not even discussion, but talks we get into. I think like, okay, but what is actually what is the meaning? Okay, where do you get it from? So it's, you know, you are composing in a completely different way a work because you think like, oh yeah, that's maybe also, yeah. We in the art world feel this is stupid. But for them it's the most natural thing to do you know every day when they, when the mother puts the music on before dinner time. And I think why do I want to take that away? So the thing is we open up the general rehearsals that are five days because we need long general rehearsals because we have to time it completely exactly and of course when, well we, there was not so much in it of the real scenes because that is for the registration, yeah, then you have to make a film of four hours, so you, but this is more like where you go and how you go and you go from one location to the other. But that week is without a ticket is open for the whole community. So they have five days with all of them and families come, neighbors come, da, da, da, da, da, da. And then after that we start with the tickets. But for me it's always very important or the switch, the, you know, the the movement I make is I make the, for example the urban safaris in the neighborhood and then actually I like the people from the public from out of the center of the town come to the neighborhoods because I made it actually for them together. And when I make something at Tuneilgrub for example in the main hall theater then I get all the public from the neighborhoods and bring them to the center. Now, well when I leave out the the search for the money don't leave it out don't leave it out. So, artistically spoken it's a year so one year before May or June of a year I make the the project then I look for the co-productions then I start doing the research and I start to cast the actors. And because already in March we start the adoption period and then the writing and then the rehearsals for six weeks so then May, June you play so then I start one literally one year before and with funding two years. Oh, I forgot your name. Sorry? Helen, yeah Helen. I was talking to Helen outside and I said I have to knock it on wood is a Dutch expression but it never happened. So only what I told this afternoon for example that the husband of Fatma died and that his wish was to be buried in Turkey so she had to leave for a week and then Nasmir took over the whole scene and for example Alec he was a Kurdish man and he was by the judge for ordeals court ordered for leaving his house because of domestic violence so then but the actors could stay in his house and then we shoot him on film so and then the scene in his house was like 40 minutes and we took 5 minutes extra for the first location outside and then we walked to the area where the judge allowed him to be and there we met the public met him in the park so there were situations like that for example but nobody ever stepped out. I have a really stupid question you're not wearing helmets on the motorcycles is that allowed and that's the first and the second is I hate it I just hate it. I understand I never wear helmet on my bicycle but in Germany it wouldn't be allowed in America I gather also not it's not important I just wanted to know if this is legal are you afraid of people falling off the back of the motorcycle I think it's we have of course I did a research on this I did a research on every detail every detail but I forgot the number of kilometers but you without a helmet is allowed I think to 28 or 25 oh thank you kilometers in an hour and then I don't have to use the helmet because I hate it and you're so locked in and I like oh man it's gorgeous I do the well actually I choose I choose or actually I don't choose so we do the research and in the dialogues with the people it will sort itself out yeah but that's what I call the research what is the research oh I didn't understand oh sorry we do literally ringing bells we go to houses we are with a group of in the beginning with eight members of our group sometimes even the people of our office go with us and then we write the addresses and contact in a word document and then after a month the real our real research group that's four people start and they work for month and they go door by door by door and they go to community houses to churches community house yeah the city hall has little the local community board yeah yeah right the local community board and we go to supermarkets and you go to weddings you go to funerals where you are allowed to come we go from one to the other and we all make notes in the word document with the contacts and then sometimes they have we organize short meetings or receptions or how do you say drinks somewhere in the neighborhood so we open the doors say like we are sitting here and here we have snacks and drinks and then people can come for talks and information and then the next day we go ringing the bells ringing the bells from one to the other and then you find people and actually I never have to say no because I try to find always on a yes to say to everybody who wants to participate a yes because the strange thing is when you put energy in the no you are so busy with nothing and when you say yes to everybody then in the periods of five months then people come to you and say like oh we are moving you know oh my mother is coming to live with me because she is a bit ill I am so sorry I will make the cakes afterwards but I cannot join it but I will be there when the show is over at six o'clock and da da da da and of course for the adoption houses that is that we really of course make a list like that is a possibility but I say to everybody who wants to be an adoptive house I say yes I do no check so for example the man who had to go to court and I didn't know I also worked two times with criminals I didn't know and actually I like that very much oh wow you are a criminal oh how special wow what a life what did you do man oh no ok so now you are going to adopt us you know and that is actually it opens up a different relation or you know a channel for so maybe now we should go to the next clip tell us a little bit what that is that is the opposite that is why I took these two and the opposite is take the people from the neighborhoods to the center and then really in Amsterdam to the main whole theater with tunnel of Amsterdam is really the group and the building and that were 100 people that was actually for me kind of angry but also I think for me it was a kind of glance to knock on the door of huge theater buildings and the theater buildings in our country are paid by the governments so it was a knock on their door like you have to open up for people even if they have no money but everybody should go to theater if they like to go or could go to theater you say maybe could go I slept for a month with 100 people out of the areas of Amsterdam and Utrecht and Eindhoven Rotterdam and wherever we played so you had a professional group Danton's death it was directed by Johan Simons who was then part of tunnel of Amsterdam and we broke into that building broke into that piece went ate our soup because Jan Verswijfeld who is the partner of Eva van Hove made the scenography so I was in touch with him about he said like okay then I make a little kitchen in that decor so you can have your soup with your 100 and then in the end we came back and we did we took out our clothes and put on our pajamas and then I asked when it was all finished I asked the director of the the chairman of the theater to read our bedtime story and then we slept and then the next morning we had a breakfast and that was really what I I forced them the theater to prepare a breakfast for 100 with their total staff and then I gave every theater a list with the 100 names of people who live in their suburbs who have no money to go to theater who have never been to theater a list of 100 names, 100 telephone numbers, 100 email addresses it's all also all the work we did to only say I knock on your door and this is your start and here you have 100 names with all the contact information and now you have to open that building so that was the message behind this you don't know where to put your name on the wall 20, 90 guys, and this is self-made hard or it's not 20, 30, 30 30 if you like to be on the roof to keep your breath I would be able to write very sad verses for example the night is in a sharp fall and far away we hold the star you have to be able to stand standing and say that you have to stay on the roof and every time you have to stay on the roof I think that what happened between me and Tussi is that what made me really angry she is very special to me I saw in the first time that she has a very good tonality she does something a very good actor she doesn't put anything she doesn't do anything she just looks at me and I like to create a ton and it why don't we come here of course you know so much about your superiority because you know you are playing and you have the superiority to be able to be as good as you do always people the advantage they have because they can But most of the time, I can't do anything about it, because I just see all my life standing there. I ask all the people there, if something happens to me, we are going to do something about it. It is applied. It is very important for me to make a home in my little room in my little room. There is nothing in my room except that I really want to do something. And I think that all these people can walk through and have to be able to walk, to be able to find a building where you can make your own space, what is your own place. And maybe you just want to show your children, look at this, it's in the toilet. And I think it's so hot, or even better, or if you have money, then you can walk through three floors. But I believe that we all from the theater, for example, may not be too big for ourselves, but we can do that. But really forget that a lot of people in the theater want to be there, and then theorize that we should do something about it. But I don't really see where we are going to leave ourselves. And that's where I think it's important. I believe that this building and you, and also our children, must be thankful that we did it. Thank you.