Theatre Workshop by Igor Futterer in Illkirch
“The Stork Has Only One Head” by Igor Futterer
The central question Igor Futterer poses in his work is: “Who would willingly die for Germany?”
Futterer, a dramaturge, director, and actor, currently resides in Normandy. In an interview with Sandra Butsch, he reflected on his motivation to bring historical themes to the stage. Of Alsatian origin, Futterer moved to Paris at the age of twelve: “At the time, I realised that I wasn’t perceived as French. That’s when I began to write. Over time, this evolved into what you might call identification through performance. The concept of ‘homeland’ has never left me since.”
Since 2017, Futterer has worked extensively with young people, seeking to pass on historical memory and lived experience: “For me, the theatre is a democratic space. It demands societal participation, a sense of engagement that can be practised and embodied on stage. For me, theatre is education.”
Madame Mougenot, the head of the school, and Stéphane Pir, a teacher at the Henri Ebel institution (known as EREA – établissement d’enseignement adapté), invited Futterer to lead a theatre workshop with their students. Stéphane Pir collaborates with Sandra Butsch on the Storyboard-Telling initiative for the “Bridge for the Future” project of the Blue House in Breisach (to the article). Pir has been actively engaged in teaching the histories of the Malgré-Nous for several years. He maintains close contact with living witnesses of the era and works to preserve and convey Alsatian history.
The play at the heart of this week-long workshop draws inspiration from real events. It tells the story of an Alsatian Malgré-Nous named Joseph Kopp. The central character is inspired by Futterer’s maternal grandfather.
Against his will, like all Alsatians in 1940, Joseph Kopp was “re-Germanised” and, by 1942, conscripted into the Wehrmacht. The play offers a multifaceted portrayal of the Alsatian reaction to their repeated annexation into the Reich. Responses ranged from enthusiastic collaborationists to coldly efficient notaries driven by duty, and fiery rebels determined to resist. The protagonist, Joseph, is a notary’s assistant who sometimes says “no” but mostly says “yes.” When his wife is threatened with collective punishment, Joseph ultimately participates in the massacre of a Russian village’s inhabitants. He is later sent to a Russian labour camp, where he meets his own end.
“The play is representative of the complex paths between resistance and collaboration taken by Alsatians – paths that too often ended on Russian soil,” explains Futterer.
At the end of the week, the students performed the play at their school. The audience included representatives of various state and regional institutions, individuals with honorary titles, as well as many students, parents, and members of the school community. The performance clearly resonated; the topic sparked both interest and emotional engagement. One student confided to Sandra Butsch afterwards: “At home, we don’t talk much about this topic. I don’t actually know anything about my family during that time. I found Mr. Futterer’s play and the biographical work with you and Mr. Pir incredibly fascinating and important.”