Max Andrzejewski 

SATISFACTIONACTION 

An oddly satisfying music theatre installation for ensemble and choir (65”)
Deutsche Oper Berlin / Beethovenfest Bonn 2025 / 2026

A co-production by Deutsche Oper Berlin, Beethovenfest Bonn and Max Andrzejewski, supported by Hauptstadtkulturfonds.

Composition, concept, musical and artistic direction: Max Andrzejewski
Spatial concept, stage, set and live camera:Lukas Zerbst
Dramaturgy and ASMR text: Maria Buzhor
Choreography and scenic work: Sylvana Seddig
Chorus conductor: Karin Freist-Wissing, Philipp Wernemann, Yannick Wittmann
Sound design: Jeremy Nothman
Light design: Martin Beeretz
Production: YMUSIC 
Assistant director: Julia Boxheimer
Violin: Mari Sawada
Viola: Gregoire Simon
Violoncello: Isabelle Klemt
Double bass: James Banner
Guitar/chest organ: Annie Bloch
Guitar: Arne Braun:
Guitar: Marco Mlynek
Percussion: Max Andrzejewski
and with singers of the choirs: Vocantare und Vox Bona

A collective media-based meditation: coloured foam is gently sliced into disks, a dirty carpet gets a thorough deep clean, a hydraulic press crushes a variety of objects. Pointless processes, absurd repetitions, one-size-fits-all automations: they all trigger a sense of contentment and wellbeing in us as a counterpoint to an increasingly complex reality. “Oddly Satisfying” is the name given to an internet phenomenon that forms the starting point of SATISFACTIONACTION, a phenomenon that has attracted millions of views on multiple platforms. Most of us are familiar with the odd sense of comfort afforded by day-to-day routine actions. Suddenly everything jells, luggage fits snugly into the car boot, the train is caught calmly with a minute to spare, the blackhead is discreetly squeezed. What is it that gives us that warm feeling and what lengths are we prepared to go to to bring it about? Do these hard-to-define mechanisms function only on an innocent neuronal level or is there a social element at play involving norms of behaviour, success and failure, belonging and exclusion? And are these deep-seated needs not also met by our schadenfreude at the plight of an irritating colleague or by our membership of a group, which automatically implies the exclusion of others?

In SATISFACTIONACTION the gratification is both felt on an individual level and celebrated communally, with the public immersed in a multisensory experience. It also poses the question: can a transparently escapist, communal moment counterbalance a permanent feeling of crisis and pressure? Does communal satisfaction provide the basis for agreeing on a new understanding of reality, or is it just us running away from a world on fire?

The contemporary music of composer Max Andrzejewski is informed by the minimal and jazz genres and the ASMR movement. As a percussionist with improvised-music leanings, he is also one of the eight members of the SATISFACTIONACTION ensemble, which is made up of members of Solistenensemble Kaleidoskop and other musicians with close artistic links to Andrzejewski. This collaboration with the singers of the Vocantare and VOX BONA Choruses and choreographer Sylvana Seddig is embedded within the space and video installation of Lukas Zerbst. The result is a composition consisting of spatially and temporally shifting and overlapping layers, merging into constellations, one that mirrors and renders experiential the bases of our need for fulfilment.

Max Andrzejewski

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