PREMIERE: 3 December 2026, Radialsystem Berlin
A project about the interplay of trust and mistrust
Trust is not a moral virtue but a quiet technique of survival. Trust operates where we cannot verify what sustains us — and precisely for that reason we rarely notice how deeply we depend on it. Architecture of Trust begins at this blind spot: at that inconspicuous taken-for-grantedness that holds our democratic, technological and social systems together — until it visibly fails.
In a world of growing complexity, trust becomes a paradoxical demand. We rely on laws, institutions, and expertise — knowing that we hardly understand their inner mechanisms and yet are compelled to believe in them. The more consent these systems require, the less transparent they become to the individual. Trust easily turns into belief; mistrust into paralysis.
Democracy thus balances on a narrow ridge: without trust it is incapable of action, without mistrust it is blind.
This fragility forms the musical-theatrical core of Architecture of Trust. Unlike earlier works, it is not conceived as a pasticcio of different musical pieces but as a deliberately fractured polyphony: sounds, texts, images and bodies intertwine into an open composition, sustained by its own musical structure and permeated by a continuous textual flow. From fragments, shards and aftersounds of widely differing origins (classical music, pop, contemporary music) emerges a multilayered soundtrack of the present — oscillating between the familiar and the foreign, between recognizability and unease. Music is not quoted but broken, remounted, read against the grain. What arises is a sonic space that resists nostalgia while insisting on poetry and timeless beauty — as a fragile counterforce to the permanent agitation of the present.
MUSIC THEATRE
Together with dramaturg Sergio Morabito, the ensemble is developing an original musical score under the musical direction of Paul Hübner. The fragility of the subject forms the musical-theatrical core of Architecture of Trust.
Unlike earlier works, this production does not create a pastiche of different pieces of music, but instead develops a deliberately fractured polyphony: sounds, texts, images and bodies intertwine in an open composition, carried by an original underlying musical structure and threaded through with a continuous flow of text.
From fragments, shards and echoes of the most diverse origins — classical music, pop and contemporary music — a multilayered soundscape of the present emerges, oscillating between the familiar and the foreign, between recognition and uncertainty, between reflection and departure. Music is not quoted, but newly assembled, at times read against the grain.
The result is a sonic space that rejects nostalgia while insisting on poetry and timeless beauty — a fragile counterforce to the perpetual agitation of the present.