Skip to content

A play developed by the KULA Compagnie and the women artists of the SIMORGH THEATER, Herat.
Co-production with Vereinigte Bühnen Bozen (IT), Hålogaland Teater Tromsø (NO), Simorgh Theater, Herat (AF) and the KULA Compagnie.
In Italian, German, Farsi, English, French, Hebrew, Norwegian and Arabic
The surtitles are available in English, German, Italian or Norwegian.


“The thrill of flying high in the blue sky eventually kills me. My legs have been chained underground for a long time, robbing me of my ability to fly. No one can imprison, limit, or take away the dream of sunlight shining on my wings when I sleep. How wonderful it is to fly, to be free, and to enjoy freedom. With each passing day, the sweetness of free life and freedom fades under my tongue. Make a solution, oh you who can, that this spirit, who was full of the spirit to live and vivacious, is taking its last breaths.”
Tahera Rezaie

The story is set in troubled times. In 16th century London and in the present, people take to the streets out of fear of the stranger, are forced to flee for political and religious reasons.

on stage Azar (AF),
Mahbuba Barat (AF),
Zahra Barat (AF),
Fariba Baqueri (AF),
Ingrid Mikalsen Deinboll (NO),
Hadar Dimand (IL),
Pasquale di Filippo (IT),
Céline Martin-Sisteron (FR),
Sarah Merler (IT),
Tahera Rezaie (AF),
Alexandre Ruby (FR),
Jonas Schlagowsky (DE),
Peter Schorn (IT),
Sindre Arder Skildheim (NO)
Realisation Robert Schuster (DE)
Stage design and Costumes Sascha Gross (DE)
Music and Sounds Max Bauer (DE)
Movements Slava Kushkov (DE)
Light Micha Beyermann (DE)
Ambassadress, Assistant Director, Subtitels, Stage Manager Khitham Hussein (DE)
Video technology Nicola Munerai Faes (IT)
Dramaturgical accompaniment Zainab Qadiri (AF),
Sarah Calicotti (IT),
Costume assistance Astrid Gamper (DE)

Everything and everyone, figures, light, the fabric of the stage space, are in constant, often contrary movement in this performance. Visually and acoustically exuberant, it crosses centuries and continents... The events in the present are taken from the political situation in Afghanistan since the rule of the Taliban, specifically the oppression and lack of rights of women... Very different levels of style and language are mixed, everyday ones blur with poetic, metaphorical sequences, blur into each other like the concepts and images. what is modernity, what is truth ?...

Dolomiten 4.10.2022

We, the women with a passion for art and artistic fields, were constantly threatened and endangered in our everyday lives. From childhood, a dominantly male society took away all our basic rights. Even our own families were against us fulfilling our dreams.

Fariba Baqueri, actress and director in franzmagazine 29.9.2022

The Afghan women's collective continued its executive guerrilla work in hiding from hideouts in Iran and Afghanistan. Together with the German director Robert Schuster, they incorporated the material into his latest play "Underground Birds." - It feels like getting out of prison, as if we can finally breathe freely again, says Azar, who is referred to here only by his first name for security reasons. - We studied in Afghanistan, we left all our friends, left our family, our country. Everything. That is probably the most important reason why we do this, says Baqueri and continues. - But in a way, I think it's a good opportunity to develop ourselves as artists too. And maybe we can go back one day to practice our art with other practitioners in Afghanistan.

Kristian Greiner Ådnesen in Nordlys 28.4.2023

It is about war and flight, xenophobia, cultural clash and the responsibility of the privileged, and the performance interweaves events from 16th century England and present-day Afghanistan. In 1517, the English revolted against French and Flemish immigrants, and it was a hateful and bloody affair. Contempt for humanity and a willingness to kill have also characterised the Taliban's rise to power in Afghanistan. Four of the actors are women from Afghanistan, and they themselves had to flee when the Western military forces withdrew from this war-torn country in the east. So this is strong and realistic fare, although the production moves freely between the real and the unreal, historical events and abstracted reflection. Two of the characters are, for example, "Truth" and "Modernity", and both are presented in a partly surreal and partly critical light.

Nordlys 28.4.2023 Anki Gerhardsen

„Wir setzen uns im Stück damit auseinander, dass die multikulturelle Utopie, die vor 30 Jahren vielleicht noch ein Ideal darstellte, heute vielleicht gar nicht mehr existiert. Auf etwas zu hoffen scheint beinahe absurd. Und trotzdem tun wir es in unserem Handeln”, so Robert Schuster. Dabei schwingt sowohl im Stück als auch in den Aussagen des Regisseurs seine ganz eigene Art zu hoffen mit: zu wissen, dass er global gesehen rein gar nichts zum Besseren verändern kann, es aber trotzdem zu versuchen. So schafft das Theater einen “umzäunten Raum der menschlichen Tat. Ein Bewusstsein dafür, dass wir nicht ganz global denken können. Aber wir können Schutzräume für Menschen schaffen, in denen wir miteinander handeln und die verschiedenen Sprachen und Kulturen gemeinsam aushalten”, zitiert Robert Schuster Hannah Arendt.

Barfuss Onlinemagazin Valentina Gianera 30.9.22

Das Konglomerat all dieser Themen nicht ohne dem Verlust von Witz und Unterhaltung auf die Bühne gebracht zu haben, ist nicht die einzige Besonderheit dieses außergewöhnlichen Stücks. An der Produktion waren unterschiedlichste Theatergruppen und Schauspieler:innen aus Afghanistan, Israel, Norwegen, Frankreich, Italien und Deutschland beteiligt und ebenso vielfältig ist auch die Sprachverwendung im Stück: Werden beispielsweise auf französisch Fragen gestellt, werden sie auf dari beantwortet, denn alle Beteiligten sprechen in ihrer Sprache. Außerdem haben die Schauspieler:innen die Texte für ihre Figuren in einer Art „writers room“ selbst verfasst. Keine Hierarchien, kein Ausschluss, stattdessen ein Miteinander auf Augenhöhe – dass so etwas nicht nur möglich, sondern vielmehr unabdingbar ist, um etwas entstehen zu lassen, dass sich im besten Sinne von allem Bestehenden unterscheidet, hat diese Produktion eindeutig bewiesen.

komplex Kulturmagazin 3.11.2022 Sarah Caliciotti