THAT’S THE WAY I LIKE IT
In the third part of the trilogy, THAT’S THE WAY I LIKE IT, Roller attempts to develop a vision for the future. How does one behave as an artist when the societal demand for art seems to have declined and state cultural funding has been cut so far that it no longer exists? Unable to answer this existential question as an artist whose work foundation is retracted, he interrogates himself in the form of five German taxpayers who share his name and subsidize the work of dancer Jochen Roller with their work. In the dialogues with these doppelgänger, he develops different models of a cultural-political view of the future marked by the work-related and sociological realities in which each Jochen Roller lives. Jochen Roller asks Jochen Roller about the value of art, what role art plays in the life of Jochen Roller and what Jochen Roller would like to see onstage. In this way, he hopes to find out what other Jochen Rollers do for society in his name and investigates the function of identity-creating work, in order to finally be able to answer the question of whether looking at dance as work is senseful – or senseless.