{"id":22521,"date":"2025-11-21T16:28:37","date_gmt":"2025-11-21T15:28:37","guid":{"rendered":"https:\/\/www.neukoellneroper.de\/?p=22521"},"modified":"2025-11-21T16:39:46","modified_gmt":"2025-11-21T15:39:46","slug":"kampf-dem-femzid-the-biggest-crime","status":"publish","type":"post","link":"https:\/\/www.neukoellneroper.de\/en\/kampf-dem-femzid-the-biggest-crime\/","title":{"rendered":"Fight the Femicide: The Biggest Crime"},"content":{"rendered":"\n<p>Almost every third day in Germany, a woman is killed because of her gender. The perpetrators are always men, most often from the immediate social environment. These murders represent the catastrophic, dehumanizing endpoint of psychological and physical violence against partners and ex-partners, daughters, and mothers within patriarchy. Femicide is carried out under the societal guise of \u201ccrimes of passion.\u201d On stages across the country, femicides are additionally presented night after night as a \u201cgood murder,\u201d a \u201cbeautiful murder,\u201d as it is called in Alban Berg\u2019s opera <em>Wozzeck<\/em>.<\/p>\n\n\n\n<p>The music theatre performance CRIME OF PASSION by Berlin-based performer and singer <strong>Anthony H\u00fcseyin<\/strong> investigates the killing of women on the opera stage, its historical roots, and its presence in our everyday lives. <strong>Fatma Aydemir<\/strong>, <strong>Alvina Chamberland<\/strong>, and <strong>Martha-Luise Urbanek<\/strong> also engage with violence against FLINTA+ in their artistic, literary, performative, and journalistic practices \u2013 both on a personal and structural level. On the occasion of the International Day for the Elimination of Violence against Women, and following H\u00fcseyin\u2019s performance, they will collectively approach the topic of femicide in a <a href=\"https:\/\/www.neukoellneroper.de\/en\/performance\/the-biggest-crime\/\">talk<\/a> on <strong>November 25<\/strong>.<\/p>\n\n\n\n<div class=\"slider\" class=\"wp-block-acv-slider\"><figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\"data-id=\"22510\" src=\"https:\/\/www.neukoellneroper.de\/wp-content\/uploads\/2025\/11\/Fatma-Aydemir-@-Bahar-Kaygusuz-e1763726671323-1100x618.jpg\" alt=\"\" title=\"\" width=\"1100\" height=\"618\"\/><figcaption class=\"slide-caption\">Fatma Aydemir \u00a9 Bahar Kaygusuz<\/figcaption><\/figure><figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\"data-id=\"22509\" src=\"https:\/\/www.neukoellneroper.de\/wp-content\/uploads\/2025\/11\/Alvina-Chamberland-@-Tiresia-e1763726613945.jpg\" alt=\"\" title=\"\"\/><figcaption class=\"slide-caption\">Alvina Chamberland \u00a9 Tiresia<\/figcaption><\/figure><figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\"data-id=\"22512\" src=\"https:\/\/www.neukoellneroper.de\/wp-content\/uploads\/2025\/11\/CRIME_VH58312-e1763726724749-1100x620.jpg\" alt=\"\" title=\"\" width=\"1100\" height=\"620\"\/><figcaption class=\"slide-caption\">Anthony H\u00fcseyin \u00a9 Peter van Heesen<\/figcaption><\/figure><figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\"data-id=\"22511\" src=\"https:\/\/www.neukoellneroper.de\/wp-content\/uploads\/2025\/11\/Martha-Urbanek-@-Reiner-Nicklas-scaled-e1763726565293-1100x619.jpg\" alt=\"\" title=\"\" width=\"1100\" height=\"619\"\/><figcaption class=\"slide-caption\">Martha-Luise Urbanek \u00a9 Reiner Nicklas<\/figcaption><\/figure><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Almost every third day in Germany, a woman is killed because of her gender. The perpetrators are always men, most often from the immediate social environment. These murders represent the catastrophic, dehumanizing endpoint of psychological and physical violence against partners and ex-partners, daughters, and mothers within patriarchy. Femicide is carried out under the societal guise [&hellip;]<\/p>\n","protected":false},"author":15,"featured_media":22212,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_locale":"en_US","_original_post":"https:\/\/www.neukoellneroper.de\/?p=22508","_post_author":"","_pinkie_id":22212,"footnotes":""},"categories":[114],"tags":[117,115,122,116,125,118,121,128,123,48],"class_list":["post-22521","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-talk","tag-alvina-chamberland","tag-anthony-hueseyin","tag-crime-of-passion","tag-fatma-aydemir","tag-femicide","tag-martha-urbanek","tag-martha-luise-urbanek","tag-musik-performance","tag-musikperformance","tag-oper","en-US"],"_links":{"self":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/posts\/22521","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/users\/15"}],"replies":[{"embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/comments?post=22521"}],"version-history":[{"count":4,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/posts\/22521\/revisions"}],"predecessor-version":[{"id":22539,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/posts\/22521\/revisions\/22539"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/media\/22212"}],"wp:attachment":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/media?parent=22521"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/categories?post=22521"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/tags?post=22521"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}