Der Gute Gott von Manhattan

The narrative framework of this radio play adaptation is the court case in which the self-proclaimed good god justifies to the audience why he blew up a young couple. The narrative is divided into various cassette recordings, which are performed, fast-forwarded and rewound as evidence. During the rehearsal process, I made recordings on cassette, digitized and edited them, so that the sound world of the cassettes also contains the clouding and alienation of memories. The love scenes on tape take place in a city of neon signs, which are also present in the sound design as an acoustic extension of the stage design.