After his execution, Jesus appears to his disciples and allows the doubting Thomas to touch his wounds with his finger. This famous scene from the New Testament is the definitive proof of the physical resurrection and thus proof that Jesus is indeed the Christ, the Messiah, the Son of God. In the world of faith, there is a world before and a world after. There's just one catch: the scene doesn't exist.
Image gallery
The Incredulity of Saint Thomas—Caravaggio, 1601
What is faith, what is conviction, what is real? Boris Nikitin and Malte Scholz's evangelical motivational sermon premiered in Berlin in 2016. Almost 10 years later, the reissue moves under different political realities on the ambiguous border between document and forgery, between physical experience and mere dreamlike imagination. It searches once again for the ultimate interruption in the course of events that they call 'reality' and asks the question of the ultimate sacrifice: the willingness to die in order to finally live.
(German/English surtitles)
Additional information
Performance / text Malte Scholz Text / direction / stage Boris Nikitin Choir Unity Gospel Choir Pankow Production management Annett Hardegen A production of HAU HEBBEL AM UFER as part of the festival "Heiner Müller!" 2016 Invited to the Impulse Theater Festival 2016
Boris Nikitin stages productions in the international independent scene and at German-language municipal theaters. He is the artistic director of the biennial festival for documentary and propagandistic arts It's The Real Thing. As a director and writer, Nikitin explores the representation and creation of identity and reality. His works navigate the borderlands between theatrical illusion and performance, between documentary, propaganda, and fake.
Boris Nikitin stages productions in the international independent scene and at German-language municipal theaters. He is the artistic director of the biennial festival for documentary and propagandistic arts It's The Real Thing. As a director and writer, Nikitin explores the representation and creation of identity and reality. His works navigate the borderlands between theatrical illusion and performance, between documentary, propaganda, and fake.
Dates
November 2025
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