{
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    "@base": "https://madek.hfg-karlsruhe.de/",
    "madek": "https://madek.hfg-karlsruhe.de/ns#",
    "madek_system": "https://madek.hfg-karlsruhe.de/vocabulary/madek_system:",
    "Keyword": "https://madek.hfg-karlsruhe.de/vocabulary/keyword/",
    "Role": "https://madek.hfg-karlsruhe.de/roles/",
    "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#",
    "rdfs": "http://www.w3.org/2000/01/rdf-schema#",
    "owl": "http://www.w3.org/2002/07/owl#",
    "madek_core": "https://madek.hfg-karlsruhe.de/vocabulary/madek_core:",
    "madek_media_object": "https://madek.hfg-karlsruhe.de/vocabulary/media_object:",
    "madek_institution": "https://madek.hfg-karlsruhe.de/vocabulary/institution:",
    "madek_creative_work": "https://madek.hfg-karlsruhe.de/vocabulary/creative_work:",
    "madek_rights": "https://madek.hfg-karlsruhe.de/vocabulary/rights:"
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        "@value": "Das Neue Stück",
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        "@value": "\t\r\nThe new play \"Frau Ada denkt Unerhörtes\" is about the world's first female programmer, Ada Lovelace. It describes Ada's life in two parts: A biographical but heavily distorted first part, which seems rather dreamlike due to its dialog and cast, and a realistic-seeming second part, in which a future is imagined in which one of the machines Ada once invented takes power over humanity.\r\n\r\nOur backdrop consisted of a slightly translucent curtain that divided the stage in the middle. In the first part of the play, the audience sat on the bleachers; for the second part, they changed sides of the curtain and then sat on low platforms at the back of the stage.\r\nIn order to portray the dreamlike nature of the first part, we only showed Ada's actress in front of the curtain; the other three actors, who played the characters of the mother and two puppets, were behind the curtain and could only be seen through shadows on it. The play leaves it open as to whether Ada is talking to real people, whether the events really happened or whether everything is just taking place in Ada's head. This blurring of fever dream and reality was articulated by the shadows on the curtain. In order to give the audience a feeling for the real Ada Lovelace, facts from her life were projected onto the curtain again and again.\r\n\r\nIn the second, very realistic-looking part, in which the audience is on the other side of the curtain, the three actors now stand on the audience side of the curtain in the roles of three scientists. Ada, now as a robot, stands slightly illuminated behind the curtain and seems to be clouding through the fabric like a dream. The moment she awakens to independent life, she changes sides of the curtain, steps out of the dream and takes over reality.\r\nIn addition to the blurring of dream and reality, the play is also characterized by power relations: In the first part, Ada is dominated by her mother and her many illnesses and has to lie down a lot. The actress sits on the floor throughout the first part. The shadow of her mother behind her is large and threatening. The audience sits in an elevated position on the stand and looks down on Ada.\r\nIn the second part, Ada takes over in the form of a robot, the audience is subordinated to her and sits on low platforms almost on the floor. The scientists are overcome by Ada and gradually leave the light cone of the stage.",
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        "@value": "\t\r\nDas neue Stück „Frau Ada denkt Unerhörtes“ handelt von der ersten Programmiererin der Welt, Ada Lovelace. Es beschreibt Adas Leben in zwei Teilen: Einem biografischen aber stark verfremdeten ersten Teil, der durch seine Dialoge und Besetzung eher Traumhaft wirkt, und einem realistisch anmutenden zweiten Teil, in dem eine Zukunft erdacht wird, in der eine der Maschinen, die Ada einst erfand, die Macht über die Menschheit an sich nimmt.\r\n\r\nUnsere Kulisse bestand aus einem leicht durchscheinenden Vorhang, der die Bühne in der Mitte teilt. Im ersten Teil des Stücks saßen die Zuschauer auf der Tribüne, für den zweiten Teil wechselten sie die Seite des Vorhangs und saßen dann auf niedrigen Podesten auf der Rückseite der Bühne.\r\nUm die Traumhaftigkeit des ersten Teils darzustellen, zeigten wir dort nur die Schauspielerin von Ada vor dem Vorhang, die anderen drei Schauspieler, welche die Figuren der Mutter und zweier Puppen darstellten, befanden sich hinter dem Vorhang und waren nur durch Schatten auf diesem zu sehen. Das Stück lässt offen, ob Ada mit echten Personen spricht, ob die Ereignisse wirklich passiert sind, oder ob alles nur in Adas Kopf stattfindet. Dieses Verschwimmen aus Fiebertraum und Wirklichkeit wurde durch die Schatten auf dem Vorhang artikuliert. Um dem Publikum dennoch ein Gefühl für die echte Ada Lovelace zu geben, wurden immer wieder Fakten aus ihrem Leben auf den Vorhang projiziert.\r\n\r\nIm zweiten, sehr realistisch anmutenden Teil, bei dem sich die Zuschauer auf der anderen Seite des Vorhangs befinden, stehen die drei Schauspieler nun auf der Publikumsseite des Vorhangs in den Rollen dreier Wissenschaftler. Ada, jetzt als Roboter, steht leicht beleuchtet hinter dem Vorhang und scheint wie eine Traumvorstellung trüb durch den Stoff. In dem Moment, als sie zu eigenständigem Leben erwacht, wechselt sie die Seite des Vorhangs, tritt aus dem Traum und übernimmt die Realität.\r\nNeben dem Verschwimmen von Traum und Realität, ist das Stück ebenfalls geprägt von Machtverhältnissen: Im ersten Teil wird Ada von ihrer Mutter und ihren vielen Krankheiten dominiert und muss viel liegen. Die Schauspielerin sitzt im gesamten ersten Teil auf dem Boden. Der Schatten der Mutter hinter ihr ist groß und bedrohlich. Das Publikum sitzt in einer erhöhten Position auf der Tribüne und schaut auf Ada herab.\r\nIm zweiten Teil übernimmt Ada in Form eines Roboters die Macht, das Publikum wird ihr untergeordnet und sitzt auf niedrigen Podesten fast auf dem Boden. Die Wissenschaftler werden von Ada überwunden und verlassen nach und nach den Lichtkegel der Bühne.",
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        "@value": "Szenische Lesung\r\n\r\nBühne & Kostüme: Paula Klotzki, Cara Kollmann\r\nRegie: Liss Scholtes\r\nDramaturgie: Nele Lindemann, Anna Haas\r\nMit: Marie-Joelle Blazejewski, Anna Gesa-Raija Lappe, Tom Gramenz, Gunnar Schmidt",
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        "@value": "Studiobühne",
        "@type": "madek:Text"
      },
      "madek_institution:semester": {
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        }
      ],
      "rdfs:comment": [
        {
          "@language": "de",
          "@value": "Hilfe zu den Creative-Common-Lizenzen:"
        },
        {
          "@language": "en",
          "@value": "Help on the Creative Commons licenses:"
        }
      ]
    },
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        },
        {
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        }
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    {
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      "rdfs:label": [
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          "@value": "Titel"
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        {
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          "@value": "Title"
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    {
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          "@value": "Subtitle"
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    },
    {
      "@type": "madek:MetaKey",
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      "rdfs:label": [
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          "@value": "Projektleiter/in"
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      ],
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    {
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      "rdfs:label": [
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          "@value": "Author"
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    {
      "@type": "madek:MetaKey",
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      "rdfs:label": [
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          "@value": "Typ des Projekts/Werks"
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        {
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          "@value": "Type of project / creative work"
        }
      ],
      "rdfs:comment": [
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      "rdfs:label": [
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        {
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          "@value": "Language"
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      ],
      "rdfs:comment": [
        {
          "@language": "de",
          "@value": "Du kannst die Liste erweitern, indem du einen neuen Ländercode eintippst, \"Enter\" drückst und abspeicherst. Bitte verwende ISO 639-1 Ländercodes!"
        },
        {
          "@language": "en",
          "@value": "You can expand the list by typing in a new language code, pressing \"Enter\" and saving. Please use ISO 639-1 country codes! "
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      ]
    },
    {
      "@type": "madek:MetaKey",
      "@id": "madek_institution:field_of_study",
      "rdfs:label": [
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          "@value": "Fachgruppe"
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        {
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          "@value": "Department"
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      ],
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          "@value": "Keywords"
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      "rdfs:label": [
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        {
          "@language": "en",
          "@value": "Course, Lecture, Seminar"
        }
      ],
      "rdfs:comment": [
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      "rdfs:comment": [
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      "@type": "madek:MetaKey",
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      "rdfs:label": [
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        {
          "@language": "en",
          "@value": "City"
        }
      ],
      "rdfs:comment": [
        {
          "@language": "de",
          "@value": "Du kannst die Liste erweitern, indem du einen neuen Begriff eintippst, \"Enter\" drückst und abspeicherst. Dein neuer Begriff ist dann Teil der Liste und für alle User wählbar. Achte bitte darauf, sinnvolle Begriffe zu vergeben!"
        },
        {
          "@language": "en",
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      ]
    },
    {
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          "@value": "Ort: Institution"
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        {
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        }
      ],
      "rdfs:comment": [
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          "@value": "Country"
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      "rdfs:comment": [
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      ],
      "rdfs:comment": [
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      ],
      "rdfs:comment": [
        {
          "@language": "de",
          "@value": "Die Liste der verfügbaren Studiengänge wird redaktionelle verwaltet. Ergänzungswünsche bitte per E-Mail an orc@hfg-karlsruhe.de"
        },
        {
          "@language": "en",
          "@value": "The list of available programs is maintained by editors. For any additions, please send an e-mail to orc@hfg-karlsruhe.de"
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