Singing Green

Warning future utopia by Karl Koppelmaa
Roheline nagu laulaks



"Singing Green" won the main prize at the Talking About Borders Competition in the spring of 2018.

Case-study opening in April, 2020, Narva (EST)

Estonian Embassy in Berlin   "Singing Green" is an engaging vision of the future, a utopian description of the events that led to the Third World War in 2031. The play also tells us how Estonia was rebuilt after the battle. The binding link in the reminiscences of five characters is Sebastian, who never appears on the stage, but with whom all other characters (Professor, Afghan, Russian, Wife and Klaus) have been on their way. In a formal sense, the play is almost essayistic.  
    "Singing Green" is a story about the world in which we do not want to live and the future we do not want to reach. But in all worlds and in the future, people and their stories are first and foremost. Humanity and its absence, love and lack of it. In the face of societal aspirations and inadequacy, all decisions, all policies, actually affect the lives of every ordinary person. So it should be mandatory for anyone who today decides something, minds and minds about the world and its clear development. To realise what the changes in society really mean at the level of individuals. And when that all starts. This play gives hope that if we acknowledge the possibility of such stories today, they will never happen.  

"Singing Green" was the first show which was created by using Zero Zone praxis.

Directors note
Tamur Tohver: This is a horrible story. I never want to stage such stories. But I see a future where such a reality is very quickly placed. It will be happening very possibly. This is why I want to stage this story that we should never experience such a future for real, not my children or the whole of humanity. And there is one more thing. I wouldn't say I like meaningless contemporary forms of playing, exhilarating and shocking realism. Already Mikhail Chekhov said that if we admire that, we will eventually have to cut through on the stage to get the effect. I would add: and then the audience would think: hmm, how they did it ... The eye matters to me. When the atmosphere is authentic and comes from one's soul, it matters to me. No matter how subtle digital realism we build, the theatre starts from a human reaction, impulse and feedback, act and react. These characters are all innocent here, just like you or me. For them, I'm staging this story against fear.
  Performed simultaneously in Estonian and Russian languages (not translated in speech).