Lucia Kotikova: Rising Star of german-Language Theater

BENSHEIM, Germany – On a Friday evening in Bensheim, a small‌ german town, actress Lucia Kotikova took to the stage, clad in Adidas sneakers and flip-flops, her hair in tight curls.⁢ She was competing for the Günther Rühle Prize, a prestigious German-language acting‍ award, performing “Bloodbook” by Kim de ⁢l’Horizon, ​the play ⁢that brought her ‌fame⁣ at the Bern theater.

De l’Horizon’s novel, which won both the Swiss and German Book Prizes in 2022, tells the⁢ story of a ⁣nonbinary character exploring their female ⁢family history and discovering their ⁤own ⁣sexuality. Kotikova, who resides in​ Basel and performs in Bern, has seen the play consistently sold out as its January 2024 premiere. Theatergoers travel ⁢from across German-speaking Switzerland⁣ to witness her performance. In 2024, the magazine “Theater Today” recognized her as the young actress of the year.

Kotikova’s Instagram profile is filled with messages ‍from admirers. One viewer wrote, “Thank‍ you for moving inside.” Another expressed hope to “share my message with others like you.” She has ​become a role model for‍ schoolchildren, teachers, and older women, embodying their political beliefs with fearlessness⁤ and determination. Her presence has elevated the Bern ‍theater, drawing attention away from larger competitors in Zurich⁣ and Basel and achieving‌ high attendance rates.

Provocative​ Performance

During her performance in Bensheim, Kotikova’s provocative language, referencing “the seed bench of the European testicular pack” and⁤ a‍ severely irritated anus,⁤ caused one‌ older gentleman to leave the hall. Kotikova responded by calling ​after him, “I go too!” before disappearing ‍behind the set. The audience‍ reacted with laughter​ and applause.

Kotikova’s talent lies in her ability to imitate voices and ‌dialects, including the Bernese dialect. With minimal props,⁤ she commands the‍ stage, captivating the audience with her passionate performance. She directly engages with individual spectators,⁤ asking, “What do you need? I can do everything!” Even the gentleman who initially left the hall ​returned to his seat.

Kotikova took five curtain calls, receiving a standing ovation.Her success stems from‍ her commitment to ⁣the text, bringing it to life rather than simply reciting it. She represents a new generation of actresses⁢ who bring their political views to ⁤the stage, influencing ensemble work, play selection, and artistic direction. At only 26, Lucia Kotikova’s life ⁢already holds ⁤enough experience for a century.

The following⁢ morning, Kotikova met for breakfast, wearing silver ‌ASICS sneakers⁤ and a hoodie. She ordered a black coffee and appeared tired,noting the challenges of performing a solo act. “It hurts when ⁤nobody reacts,” ​she said. She learned the full-length “Bloodbook” text ​in just ⁣five weeks.

Kotikova explained that she was searching for ‌herself through the role. “If you don’t do that, you don’t need to play an autofictional text.” Having performed ‌the piece over 30 times, she recently⁤ discovered a new line: “I had enough of people,” which she sees‌ as a reflection of the current era. “Humanity is once again briefly extinguishing itself.”

Family‍ History and future Roles

The day after the rehearsal, Kotikova discussed⁣ her grandmother, who has ⁣a landline with a global flat rate. ‌Her grandmother frequently calls relatives in Brooklyn or Kirowograd, where​ Kotikova⁣ spent summers as a child. Lately, the grandmother has been calling Kotikova frequently enough, though she‍ usually says, “You have to rehearse right away, I don’t want ​to bother you.”

Kotikova​ values‍ these calls, using them to ask her grandmother about family‌ history, including deportations, concentration camps, and survivors. In preparation for her⁤ role⁤ as⁢ Hannah Arendt, Kotikova immersed herself in arendt’s writings, interviews, documentaries, biographies, and podcasts.​ “I play to understand,” she said.

Following Russia’s ⁢attack on Ukraine⁢ in February 2022, Kotikova protested against performing Shakespeare’s “A Midsummer Night’s‍ Dream,” a lighthearted ‍piece scheduled at the time. Rather, ⁣she wrote her own material, ‌which​ her fellow actors performed. after the final applause, she read from a paper, “It feels absurd to stand here on⁣ such days,” sharing stories of her childhood friend Luba in Ukraine, her grandmother in Kirowograd, and ​her father, who had been awake since 4 a.m., sending ‍her messages. “War is being ⁣waged ⁤in‍ the language ‍with which ‍I grew up,” she said.

Switzerland Too Small?

Actress⁤ Eva Meckbach, an early supporter of Kotikova, noted that theaters⁣ are often hierarchical. “Now a new generation of theater professionals is growing ⁤up who no longer wants to bow‍ to these hierarchies.” Meckbach believes that Kotikova’s instincts will lead her to people who provide space⁣ for her to develop her strengths.

Kotikova’s contract with the Bünten ⁣Bern runs until the summer of 2026,⁤ but it is⁢ widely believed that she will soon outgrow Switzerland. Major theaters in⁣ German cities have already taken notice. After winning the main prize in bensheim,she donated the prize money ‌to a local queer youth​ club. Roger Vontobel, her Bernese acting ⁤director, stated, “There is ⁢no house for which Lucia would not be an enrichment.” kotikova herself said, “That’s ‌what the theater is about: to stay awake and hungry in the present.”