a thought experiment of historical momentousness: austria has not signed the treaty with the allied forces of world war II in may 1955, but, like germany, has to accept the partition of its federal territory. the country breaks apart - into a communist north and east and a western federation along the borders of the allied occupation. the danube solidifies into an iron river, splitting both the province of upper austria and its capital linz in two ...

division at banks develops its backward-turned historical prophecy on two narrative levels. one, based on two characters, delineates the plot from 1945 to today: the venturesome story of lovers, barred from being together by the river and the systems. the second, objective level, is one of minor and major world (hi)stories, of pictures from newspapers and newsreels, the comments and breaking news. giant daylight-LED-walls present the audience with daedal, interwoven live-sequences, pre-produced scenes and historical archive material. a differentiation between real and intentional falsification is utterly impossible.


division at banks uses historical aeroplanes (i.a. a mitchel, a corsair, a DC 6 as well as an alpha jet), ships (the tugboat traisen and the steam boat schönbrunn), historical lorries and cars, jet-skis, helicopters and cranes - often in their concrete descriptive significance or, according to their immanent potential of motion, in abstract choreographies.

the high-risers of urfahr are as real as the prefabricated cement-slab buildings on alexanderplatz in east-berlin. the symbols of a fictitious, fuddy-duddy vassal state, the emerging "austrian democratic republic", flaunt on those towers of modern urfahr. the scene could not seem more authentic, especially as the urfahr side of the danube indulges itself in the spirit of a so-called progressive council housing.

the danube, both banks, the airspace, ships and buildings representing today's city of linz, e.g. the lentos museum, the ars electronica centre, the pöstlingberg, are both film-set and stage setting for a historic field test, using choreography and theatre. the music, composed by peter valentin, concerts texts and dialogues with signature tones, real-socialist classics and pop. the concurrence of reality, communicated via media, and its intentional falsification, with visible interventions in the cityscape of linz, urfahr and also the danube as the border between the power blocks.


division at banks is the true story of something that might have happened, presented as a sensous, subsumable music and open-air theatre. precision, poetry, original site and assembly are the centre of various interlaced narrative- and perceptive levels.