Theatrical cooking, food performance, Danube Festival Krems 2025

A production by God’s Entertainment

in collaboration with COURIC DESIGNS

Crispy polenta balls, filled with matured Payoyo goat’s cheese

powdered jameed (dried sheep’s yoghurt from Jordan)

marinated peppers grilled over an open fire

vegan mayo with torshi makhloot (Persian mixed pickles)

The route begins with a boat trip on land, winds through a mountain range of oil tanks and ends in a maze of driftwood, where a walk-in aquarium beckons! With God’s Entertainment, the waterway becomes part of a surreal mirror world, perhaps a venomous snake, a dubious doppelgänger of the ‘beautiful blue Danube’, evoking the uncanny and repressed aspects of our notions of (South-East) Europe. In fact, the water as a meeting zone is simultaneously a trade route and a space of longing, a migration passage and a national border, nature and a canal. As myth and as possibility, it creates routes that can be followed, connecting the flows of things and beings, of oil, rubbish, data, swarms and pheromones. These are paths that engage with unprecedented movements, with tactics of translation and transgression, and with unplanned encounters. In God’s Entertainment’s Danube Double, everything flows.

With the kind support of the City of Vienna’s Department of Culture / MA7

Theatrical cooking, food performance, Danube Festival Krems 2025

A production by God’s Entertainment

in collaboration with COURIC DESIGNS

Crispy polenta balls, filled with matured Payoyo goat’s cheese

powdered jameed (dried sheep’s yoghurt from Jordan)

marinated peppers grilled over an open fire

vegan mayo with torshi makhloot (Persian mixed pickles)

The route begins with a boat trip on land, winds through a mountain range of oil tanks and ends in a maze of driftwood, where a walk-in aquarium beckons! With God’s Entertainment, the waterway becomes part of a surreal mirror world, perhaps a venomous snake, a dubious doppelgänger of the ‘beautiful blue Danube’, evoking the uncanny and repressed aspects of our notions of (South-East) Europe. In fact, the water as a meeting zone is simultaneously a trade route and a space of longing, a migration passage and a national border, nature and a canal. As myth and as possibility, it creates routes that can be followed, connecting the flows of things and beings, of oil, rubbish, data, swarms and pheromones. These are paths that engage with unprecedented movements, with tactics of translation and transgression, and with unplanned encounters. In God’s Entertainment’s Danube Double, everything flows.

With the kind support of the City of Vienna’s Department of Culture / MA7