The waterfront may be a border, but that doesn't mean it's safe. A kind of nameless "We" - a curious man and a monk - roams on the riverbank, gazing at the ghosts of the past as a fortune teller: they float down the river and along it, soaking into the silty alluvial deposits or the cracked concrete walls of the abandoned shipyard. The ghosts are joined by men who meet there to have sex, such as Dan and Christopher. "We" listen, whisper, scream, and witness, and their story is intertwined with the narrative of the doctor whose burnt books still float on the surface like smouldering ashes, with the case of the artist who found freedom in a fall from the 34th floor, and with the story of the architect who cuts up abandoned buildings and finds no peace. The play intertwines stories of disappearing and returning bodies. Bodies that were seeking freedom and connection while still searching, their mouths barely a centimetre above the surface. Could fading away, forgetting, be a form of connection? According to its author Mazlum Nergiz: "The play follows the period from the Weimar Republic to the AIDS crisis of the late 1980s and 1990s from the perspective of flowing water. In doing so, it connects seemingly unrelated life stories of real people and events. But these stories are united by a multi-layered power that is becoming increasingly clear: Violence. Eras, upheavals, turning points and contexts flow into each other like rivers. Am Fluss / Pri rieke [On the River] is about the constant presence of history in our present."

The production is a co-production with Schauspielhaus Wien, directed by the renowned German directess Christiane Pohle. Symbolically, we will connect the two closest capitals on Earth located on the banks of the same river.