6 Million unemployed to come to the Wolfgangslake with us to visit our chancellor Kohl in his summer-residence in
Austria. We calculated that if 6 Million people jumped into the water at once, the waterlevel of the lake would rise so
much that it would flood the little house of Helmut Kohl.

Doing, doing, doing, because we want to help, help, help. And we wanted to help Helmut Kohl also. After Schlingensief had
asked the unemployed masses to bring him the head of Helmut Kohl in his talk show "TALK 2000" at the end of 1997 and
after he had called to kill Kohl at the documenta X in Kassel (hybrid work space) where he got arrested we changed our
message: from KILL KOHL to HELP HELMUT! We said: everybody is our friend, friend, friend! The hymn of the party was a
little song by Bertolt Brecht: "The view in the face/ of a human that is helped/ is the view into a beautiful landscape: friend!
friend! friend!" This song was the leitmotif that accompanied our mission since 1997 when Schlingensief made his street-
action "Train-Station-Mission: PASSION POSSIBLE - 48 hours survival for Germany” in Hamburg. For one week he left the
temple of theatre and hit the streets with street activism, art demonstrations, processions, etc. At the Hamburg
Hauptbahnhof (Central Station) a little container was built as an “angstfree room" where the junkies and homeless people
found art & soup. They could express themselves through open mikes and Schlingensief collected money for them ina
huge Gala. Many prominent people became supporter of this “post-caritative mobile theatre commando" (Carl Hegemann,
Schlingensiefs dramaturg). Since then we demonstrated our good-will: “Poor People help the Rich". And our message to
the Rich was: give away your money. And save the market economy. And the media started to call Schlingensief “Jesus of
the unemployed”.

We did not say: we want the communist market, we only said: this reality is occupied by parties, churches, labour unions,
the media, etc. This is System I. We want into System Il. Because. “the way persists, even if the goal explodes” (Heiner
Miiller). Because in a world, where money is the only value that makes orientation possible, humanity cannot survive- said
Heiner Miiller also. Money has a become a fetish, a modern times taboo. Rich people can only liberate themselves by giv-
ing away their money. Only the Poor can help them- by accepting that money. Modern management theories like Tom Peters
suggest that in this world only those companies can survive that take values like human dignity very seriously. Not selling
the customers stuff, but serving the people is the new orientation in the market place. CHANCE 2000 tried to connect "post-
heroic management” (Dirk Baecker) with the epic theatre as envisioned by Bertolt Brecht and Heiner Miiller. While in the
economic sphere the difference between superior and employees has to be minimised in “flat hierarchies", in the room of
theatre the difference between actors and audience has to be eliminated: "The 4th Wall has to fall!", as Brecht said.
Germany 1998: on Bertolt Brechts 100th Birthday we started the revolution, inspired from the coming of the New Millennium
and the numerical mystics of dates: 1998 - 1989 - 1968 ... While in 1989 the Wall fell, we felt that in 1998 the 4th wall
had to fall. The revolution has to take place in the theatre, at least in Germany, the country of the failing revolutions and the
triumphant counterrevolutions: 1918, 1848 ... 150 years of "failure as chance” ... Back then the radical-democratic "We Are
‘The People!" ("Wir sind das VOLK!") was changed into the volkish-nationalist "We Are One People!” ("Wir sind EIN Volk!"):
after 1848 and in 1989. In 1998 we said: "You Are one Volk: 1 V!", meaning: everybody. WE THE PEOPLE.

While intellectuals in the tradition from Niklas Luhmann like Dirk Baecker show that we can never dissolve the differences
between those opposites, Schlingensief proved in his work of theatre the opposite. His ensemble consists of friends: fa-
mous actors and Schlingensiefs little theatre-family of handicapped people who prove that they can express themselves
more vivid and authentic than artists and actors. And in Hamburg it showed that the street people from the real world can
be better performers by expressing themselves than the professional performers from the theatre-world. In this respect
Brecht's vision of the epic theatre has become a reality. This goes far beyond humanitarian engagement of the theatre-left
who give little shows for the excluded and mistreated. In this case, the real people themselves have -without knowing- rev-
olutionised the theatre. It is not decided yet: is it art, is it politics? Have we made politics more aesthetic or aesthetics
more political? CHANCE 2000 is an in-between and it's vitality lives from this ambivalence. Only Tom Peters’ parole:
“Failing as Chance” has come to honour. We failed gloriously with a result of 0,1% That was our chance...

“Failure as chance" also became true financially. of course we have not got money back from the government and went
bankrupt. And it showed, that “mass media is only interested in self-destruction, not in self- salvation", as Schlingensief
always said. His critics called him the "most-media-horney media-hater” for he managed to stay in the media like no other