A glittering, glamorous music theatre rebellion by Gaye Su Akyol. Part of the Schall und Rausch Festival at the Komische Oper Berlin 2025.
(C) Jaro Suffner
Music makes you dream, music brings people together, music can save the world! Turkish singer and activist Gaye Su Akyol is convinced of this, and invites us to the fantastic, colorful, diverse planet of music with this pop-psychedelic space opera.
Post-punk, grunge, and psychedelic surf rock meet Turkish classical music and Anatolian folk tunes in Gaye Su Akyol’s inimitable style, countering oppression and injustice in the here and now with her powerfully poetic alternative vision.
(C) Jaro Suffner
Music and Concept: Gaye Su Akyol Direction: Esteban Muñoz Herrera Performer: Gaye Su Akyol, DJ Ipek, Thoma Jaron-Wutz, Felix Witzlau, Grace Heldridge Musicians: Barlas Tan Özemek, Ali Güçlü Şimşek, Ege Soydan Musicians of the Komische Oper Berlin Orchestra: Stefan Ada, Tilo Morgner, Andrea Haubold, Bernhard von der Gabelentz Stage Design and Video: Marc Molinos / Piedra Muda Lab Stage Design and Costumes: Katrin Lehmacher Choreography: Daniel Daniela Ojeda Yrureta Text and Dramaturgy: Julia Jordà Stoppelhaar Light: Christian Büttner Sound: Andrea Jetter Video Concept and Video Production: Sinan Tuncay Artistic Production Management: René Dombrowski
#23-26 • [28. / 30. June + 2. / 5. July 2024] “Dämonen (Berlin) – Repertoire production”
↪ www.gorki.de/en/damonen-berlin: Berlin, Summer 2024. A group of young people walks through the night. A camera follows them. They roam around the urban environment. Starting point: the Gorki. The old plane tree in the garden. Squares. Paths. Stories. What do we know about the history of places? What stories do they take with them through the city? Stories and thoughts meet the stories of a city. A search for both the traces of something of one’s own in the past, as well as for whom and by whom these squares, streets, buildings and spaces were made. This is your city. This is our city. But does the city know that?
With Dämonen (Berlin), resident director Sebastian Nübling and director Boris Nikitin link back to their first joint work at Theatre Basel. Every evening a new live film is created which is broadcast on a screen in the Gorki.
Premiere 28/June 2024
Directed by
Boris Nikitin, Sebastian Nübling
Cast
Tim Freudensprung, Kinan Hmeidan, Flavia Lefèvre, Meret Mundwiler, Linda Vaher
#22 • [22. June 2024] “Mely Kiyak hat Kunst #5 – Mit Witz und Wahrheit – Jan Böhmermann – talk”
↪ www.gorki.de/en/mely-kiyak-hat-kunst-5: Out of Germany’s satirists, Jan Böhmermann is the one who takes the world the most seriously. Because that’s what it means to be a professional about poking fun at the people and the state: use hilarious jokes to highlight the truth underneath. Jan and Mely share their sacred approach to humour. When the world is this dysfunctional, you have to laugh at that which would
break you until it breaks!
#21 • [21. June 2024] “Back and Force – Queer Identities in Global Struggle – Panel”
↪ www.gorki.de/en/back-and-force: This year, on April 12th, the Self-Determination Act was passed by the German Bundestag. It was a long-fought and hard-won milestone for trans, intersex and non-binary people in Germany, and yet it was only a partial success. Shortly before it passed, the use of gender-conscious language was banned from government agencies, schools and universities in Bavaria. This simultaneity of achievement and backlash is illustrative of our times. LGBTQIA+ rights and feminist achievements are at the centre of nationalist, conservative and far-right attacks and campaigns worldwide. People who take action to support the rights and visibility of queer people in politics and art discuss their experiences, ongoing battles and the need for alliances.
As part of Queer Week 2024
#20 • [21. June 2024] “This is not me – Screening”
↪ www.gorki.de/en/this-is-not-me: Bu Ben Değilim (This is Not Me) tells the story of gay men who have had to marry women to hide their sexual orientation in the face of societal and family pressure in Turkey, and their own internal conflicts.
The three main characters of the film, Mustafa, Mehmet and Yusuf migrated to İstanbul from small towns and come from conservative families. The film reveals each characters’ world: exhausted from continually playing at social roles and lying about their identity, faltering between their reality and their dreams, frustrated and stuck in their lives. It also looks at the subject from the aspect of women who are the other victims of these marriages.
Mehmet and Yusuf, both married to women, act the part of heterosexual males and family men within their own social circles. Privately, however, they are passionately in love with their male lovers and can only live their truth within the parallel lives they have built with them. The driving character of the film, Mustafa, is Mehmet’s lover of 15 years. Mustafa describes Mehmet as a »homophobic homosexual«. During the first couple of years of their relationship Mehmet violently abused Mustafa because of guilt. In the film we see Mustafa trying to put this very passionate but equally traumatic relationship in the past. Mehmet, however, has no desire to let go of Mustafa.
Direction & Script Jeyan Kader Gülşen & Zekiye Kaçak Bakırhan
Cut Jeyan Kader Gülşen & Zekiye Kaçak Bakırhan Production Jeyan Kader Gülşen Music Vedat Yıldırım & Cansun Küçüktürk Sound Design Cenker Kökten Director of Photography Christian Feiland Colorist Bora Gökşingöl Poster Design Yer Creative With Mustafa, Mehmet, Yusuf
Introduction in the Studio Foyer at 5:45 pm
Film in Türkçe with English subtitles
As part of Queer Week 2024
#19 • [20. June 2024] “Queerweek 24 – “Hold me grieving” – exhibition”
↪ www.gorki.de/en/hold-me-grieving: The only cure for grief is grieving – and that works the best when we hold each other and let ourselves be held. The exhibition hold me grieving investigates queer perspectives on grieving processes from personal grief to global grief up to transcendental grief. To be in transition or bidding farewell to heteronormative roles signifies not only the creation of identity but also the loss of identity: a loss of cis-identity, grief for the normative path through life that we will not take. Simultaneously, we grieve queer identities which, because of power imbalances, colonialism, far-right and fundamentalist policies and historiography, are made invisible. At the same time, we bring these works into the present and shed light on current developments in Ghana and Uganda, countries which recently passed homophobic laws. Considering the immensurable grief and powerlessness when facing current crises, wars and live-streamed genocides, we search for rituals with which we can commemorate those whose histories have been violently extinguished. Through sound and textile works, the exhibition creates a space for grieving rituals and collective reflection.
Curated by Sunny Pfalzer und Anna Ehrenstein
With works by Malab Alneel, Anna Ehrenstein, Va-Bene Elikem Fiatsi (crazinisT artisT), Barbara Hammer, Alice Z Jones, MINQ, Sunny Pfalzer, Firas Shehadeh, Xenia Taniko ft. Colin Self, etaïnn zwer & P.A. Hülsenbeck
Vernissage and opening of Queer Week 2024 on 20. June 18:00
With an opening performance by Va-Bene Elikem Fiatsi (crazinisT artisT)
As part of Queer Week 2024
#18 • [04. June 2024] “12. Amnesty International Human Rights Award – Award Ceremony”
↪ www.gorki.de/en/12-amnesty-international-menschenrechtspreis: Every two years Amnesty International in Germany honours individuals and organizations who stand up for human rights under difficult conditions with the Human Rights Award. The aim of the award is to not only acknowledge their commitment but also support and protect them and raise public awareness of their work. In 2024, the prize will go to FEDEPESAN, a Colombian fishers’ federation.
#17 • [22. May 2024] “Prosa der Verhältnisse #28: »Mystische Fauna – Von der Liebe der Tiere« / »Die Rebellion der Liebenden« – Panel”
↪ www.gorki.de/en/prosa-der-verhaltnisse-28: Deniz Utlu talks with Marica Bodrožić about Mystische Fauna – Von der Liebe der Tiere, her most recent text. In it she conducts a conversation beyond time with the animals of her life. A reflection emerges on humans and nature, on fear, vulnerability and grief. In six personal essays in the collection Die Rebellion der Liebenden, Bodrožić turns to humans and the question of how we can, in light of the daily violence of our times, achieve a new openness in thought.
This event is organized in cooperation with the Friedrich-Ebert-Stiftung.
with Marica Bodrožić
curated and presented by Deniz Utlu
read by Alexandra Sinelnikova
#16 • [05. May 2024] “Mely Kiyak hat Kunst #4: Kunst als Verfassungsschutz – Talk”
↪ www.gorki.de/en/mely-kiyak-hat-kunst-4: »Because we believe that the battle for human rights must be fought in a more radical way. It will not be won with hashtags, lines of candles and online petitions, but with the imagination. The most effective tool is fiction.«
In the fourth edition of Mely Kiyak hat Kunst Germany’s most relevant artist working in political actions, Philipp Ruch, founder of the Center for Political Beauty will be guest. An evening on constitutional loyalty, wit and resistance.
#15 • [03. May 2024] “30 Years Reporter Without Borders: Sudan: Press Freedom in Wartimes – Panel”
↪ www.gorki.de/en/30-jahre-reporter-ohne-grenzen: People on a concrete square, heading in all possible directions, seemingly without any connection to one another. But their fates are still linked together: this photograph was taken on April 15th, 2023, the day when a new war broke out, first in the capital of Khartoum and then in the rest of Sudan. Sudanese photographer Ala Kheir took this photo and captioned it with »Khartoum and the state of mind«. Originally from Darfur, the region in western Sudan which has been plagued by conflict for years, he documents the war with a singular, occasionally oscillating into the poetic, visual language.
On May 3rd, World Press Freedom Day, Reporters without Borders (RSF) will release a new volume of photographs under the title Fotos für die Pressefreiheit 2024. Together with Sudanese photographer Ala Kheir and peace and conflict researcher Dr. Gerrit Kurtz, RSF board member Gemma Pörzgen discusses Sudan and the freedom of the press in wartime.
Panel in English
Reading in German
An event from Reporter ohne Grenzen e. V. in partnership with the Maxim Gorki Theatre.
Photo: Ala Kheir
#14 • [24. Apr 2024] “And What About Artsakh – Panel”
↪ www.gorki.de/en/and-what-about-artsakh: On September 19th, 2023, Azerbaijani troops invaded the de facto Republic of Artsakh/Nagorno-Karabakh and, through a military offensive that lasted just 24 hours, forced the 120,000 Armenian residents to flee. With this invasion, Azerbaijan – after 30 years of failed negotiations and ongoing fighting, the most recent being the six-week war in autumn 2020 – finally achieved its goals: on January 1st, 2024, all of Artsakh/Nagorno-Karabakh’s state institutions were dissolved. Again and again, observers spoke of ethnic cleansing in Artsakh/Nagorno-Karabakh, which began with the ten-month blockade of the Lachin corridor – the only road connecting Armenia and Artsakh.
In this discussion Ofelia Maghakyan, Ani Menua and Marspet Movisyan address the historical roots of the conflict and therefore the continuities of systematic forced displacement and elimination of Armenian identity in the region, especially considering the context of the Armenian Genocide in the Ottoman Empire and present-day Turkey’s denial of it.
Moderator: Anahit Bagradjans
#13 • [24. Apr 2024] “Silvina Der Meguerditchian: Thresholds // Objects That Tell Stories – Screening + QA”
↪ www.gorki.de/en/thresholds-objects-that-tell-stories: For Armenian Genocide Remembrance Day, Silvina Der Meguerditchian’s works Thresholds and Objects That Tell Stories will be shown in the Kiosk at the Maxim Gorki Theatre.
THRESHOLDS
Using »The stack« as leitmotif, the first chapter of the novel Thresholds by Krikor Beledian, this film aims to reflect on 20th century photography and its role in human cultural and family heritage, among many other things. The text, one of the literary jewels of Western Armenia, questions the influence of the photographed images on whether or not the family history becomes one’s own flesh, in this case a family of survivors of the Armenian Genocide (1915).
Q+A with Silvina Der Meguerditchian Moderated by Endre Malcolm Holeczy
Armenian with German surtitles
#12 • [24. Apr 2024] “Silvina Der Meguerditchian: Thresholds // Objects That Tell Stories – Exhibition”
↪ www.gorki.de/en/thresholds-objects-that-tell-stories: For Armenian Genocide Remembrance Day, Silvina Der Meguerditchian’s works Thresholds and Objects That Tell Stories will be shown in the Kiosk at the Maxim Gorki Theatre.
THRESHOLDS
Using »The stack« as leitmotif, the first chapter of the novel Thresholds by Krikor Beledian, this film aims to reflect on 20th century photography and its role in human cultural and family heritage, among many other things. The text, one of the literary jewels of Western Armenia, questions the influence of the photographed images on whether or not the family history becomes one’s own flesh, in this case a family of survivors of the Armenian Genocide (1915).
Armenian with German surtitles
OBJECTS THAT TELL STORIES
In Objects That Tell Stories, an ongoing workshop series, Der Meguerditchian works with a variety of communities around the world on developing new perspectives on the history of their ancestors. This video is based on interviews the artist conducted with women from Vienna’s Armenian community during the 2015 workshop The Texture of Memory, which was part of the Mobilizing Memory: Women Witnessing exhibition in the Kunsthalle Exnergasse. The film material is presented in the Open Digital Archive category at Houshamadyan, an online project dedicated to the reconstruction of Ottoman-Armenian city and village life.
Armenian, Turkish, German with German surtitles.
Exhibition 24–28/April 18:00–22:00 at Kiosk
#11 • [20. Apr 2024] “Mely Kiyak hat Kunst #3: »Ich habe keine Angst. Ich habe gar nichts.« – Talk”
↪ www.gorki.de/en/mely-kiyak-hat-kunst-03: Mely Kiyak hat Kunst is the title of a new series at the Gorki. Because when we are at our most heartbroken, that is precisely the right time for honour and beauty. Art can point out, reveal, amuse, take us to highs and lows, but it doesn’t have to. Art doesn’t have to do anything. That is what makes it sublime and free. Our theatre columnist will invite her artist friends and those that she admires. Every evening is a goodie bag.
The guest for the second edition of the conversation series will be Lütfiye Güzel, Germany’s foremost underground poet. No one else can sing of death, loss and gaps in a way that’s as fittingly frugal with words and powerful. Her merciless perspective on life is tender, her wit is apt and devilish. Lütfiye and Mely will read, discuss and, if need be, »sit on the edge of the bed and age into themselves.«
Conversation With: Mely Kiyak, Lütfiye Güzel
#10 • [28. Mar 2024] “Prosa der Verhältnisse #27: »Schauergeschichten« / »Schreiben als Beruf« – Panel”
↪ www.gorki.de/en/prosa-der-verhaltnisse-27-schauergeschichten-schreiben-als-beruf: Deniz Utlu and Péter Nádas, one of the most important authors in European contemporary literature, talk about his latest novel, Rémtörténetek (Horror Stories), and about his poetology. The novel is a polyphonic tale of life in a Hungarian village on a river, with all of its inhabitants. A panopticon of characters driven by resentment and malice with spirits buzzing all around them. The conversation also gives insights into his craft, addressing aspects such as »silent poetics«, as he describes them in his book Writing as Career: that which is no longer in the text, the omissions, struck-through passages. A conversation about how we tell stories, the power of language, about light and shadow.
With
Péter Nádas
Curated and presented by
Denİz Utlu
#09 • [22. Mar 2024] “WE ART HERE! – Show”
↪ www.gorki.de/en/we-art-here: The WE ART HERE! show is a diverse, intercultural stage for young artists, both emerging and established. Gianni Jovanovic (known as the co host of Drag Race Germany) and Oyindamola Alashe, the authors of Ich, ein Kind der kleinen Mehrheit, host the show and bring a multitude of different talents to the stage. The programme is a mix of stand up comedy, song, spoken word, dance and other art forms.
With Nadja Benaissa, Tan Caglar, Fetsum, JNNRHNDRXX, Katrin Langensiepen, Anissa Loucif, Mal Elévé, Shayne Stubbs, Lea Streisand, Vanessa Vu & Ahmad Katlesh
Moderation Oyindamola Alashe & Gianni Jovanovic
#08 • [19. Mar 2024] “Mely Kiyak hat Kunst – Correctiv – Talk”
↪ www.gorki.de/en/mely-kiyak-hat-kunst-02: Mely Kiyak hat Kunst is the title of the Gorki’s new series that’s all about good and pleasant chats. Every evening is a goodie bag and, to put it together, our theatre columnist will invite her artist friends or people that she admires.
For the March edition, CORRECTIV is her guest. ANETTE DOWIDEIT, deputy editor in chief of the research collective, and JEAN PETERS (formerly of the Peng!-Kollektiv), current investigative journalist at CORRECTIV and former graduate of clown school, will mull over the blurry boundaries between investigative theatre and theatrical journalism.
Using mustaches and wigs to save democracy has been the most effective method to date in the fight against fascism of recent decades. More effective than all the warnings, admonitions and open letters. The »Geheimplan gegen Deutschland« (Secret Plan Against Germany) uncovered by CORRECTIV, in which so-called well-behaved and normal citizens planned deportations, has motivated, up to now, 3 million citizens to take to the streets in protest across Germany.
#07 • [18. Mar 2024] “Volkslieder aus Anatolien – Concert”
↪ www.gorki.de/en/volkslieder-aus-anatolien: Berlin Saz Evi music school creates a place for Turkish music. Since 2005 Berlin Saz Evi has been teaching students of all ages to play the bağlama – long and short necked lutes. This concept has garnered them a reputation far beyond the city limits of Berlin and they welcome all music enthusiasts. Berlin Saz Evi and a choir will bring music from Anatolia to the Gorki.
with
BERLİN SAZ EVİ + CHOR
#06 • [20. Feb 2024] “Es Brennt – Berlin Premiere – Screening + Talk”
↪ www.gorki.de/en/es-brennt: Es brennt (It’s Burning) is the title of film director Erol Afşin’s feature film debut, which was shown at the Munich Film Festival in 2023 and is now celebrating its premiere at the Gorki in Berlin. An Arab family living in Germany is insulted and attacked in the playground. A court hearing ensues, but this changes everything. The film is »a reflection on the tragic and cyclical nature of violence and discrimination in our world, inspired by real events that took place in Germany«, says Afşin, who has been involved with the Gorki as an actor since its origins in Ballhaus Naunynstraße.
#05 • [17. Feb 2024] “Mely Kiyak hat Kunst #1 – Panel”
↪ www.gorki.de/en/mely-kiyak-hat-kunst: Mely Kiyak hat Kunst is the title of the new series at the Gorki. Because when we are at our most heartbroken, that is precisely the right time for honour and beauty. Art can point out, reveal, amuse, take us to highs and lows, but it doesn’t have to. Art doesn’t have to do anything. That makes it sublime and free. Our theatre columnist will invite her artist friends and those that she admires. Every evening is a goodie bag. For the launch of this new discussion series, Mely Kiyak’s guest will be Tocotronic musician and author Dirk von Lowtzow. These two friends will read excerpts of their texts and discuss the following question: »where is our art at home?«.
Mely Kiyak in conversation with Tocotronic musician and author Dirk von Lowtzow
#04 • [10. Feb 2024] “Erinnern heisst Verändern – Panel”
↪ www.gorki.de/en/and-now-hanau: Conversation with family members of »Initiative 19. Februar Hanau« Emiş Gürbüz, Said Etris Hashemi, Armin Kurtovic, Hayrettin Saraçoğlu und Vaska Zlatevaaus .
Moderation Özlem Gezer
#01+2+3 • [09.-11. Feb 2024] “And Now Hanau – sitespecific Guestperformance + regular Guestperformance”
↪ https://www.gorki.de/en/and-now-hanau: On February 19th, 2020, a racist murdered nine people in Hanau: Fatih Saraçoğlu, Gökhan Gültekin, Hamza Kurtović, Kaloyan Velkov, Mercedes Kierpacz, Said Nesar Hashemi, Sedat Gürbüz, Vili Viorel Păun and Ferhat Unvar. Together with the »Initiative 19. Februar Hanau«, the playwright, director and doctor Tuğsal Moğul poses questions in And Now Hanau about the many mistakes the police, the public prosecutor’s office, politicians and the media made before, during and after the attack. The perpetrator from Hanau escaped a trial and conviction by taking his own life; no legal proceedings will take place. That is why Moğul deliberately chooses public venues at the heart of city life: we are presenting And Now Hanau first in the Willy-Brandt-Saal in the city hall in Schöneberg and then in Studio Я for two more performances. To accompany the performances, a series of events will be held in cooperation with the »Initiative 19. Februar Hanau« and the German Trade Union Confederation.
The Berlin premiere at Schöneberg City Hall takes place in cooperation with the respective district representatives for people with disabilities, for participation and integration, and for queer lifestyles and against right-wing extremism, as well as the women’s and equal opportunities commissioners.
A co-production of the theatres Münster and Oberhausen together with Ruhrfestspiele Recklinghausen, in cooperation with the Maxim Gorki Theatre Berlin
>>> 2023 <<<
#48 • [22. Dez 2023] “Deniz Göktas – Stand Up Comedy”
↪ www.gorki.de/de/deniz-goektas-0: Deniz Göktaş was born in 1994 in Ankara. Graduated from METU, Psychology. He wrote for the Uykusuz Magazine between 2020 and 2023. While running the podcast series I Have No Time for Deniz Göktaş, he has been also doing politically charged stand-up comedy in recent years. Following the success of his Youtube special Selam Selam, Deniz Göktaş will be presenting his new show at the Gorki.
#47 • [10. Dez 2023] “Liberation Day – Film Screening and Panel”
↪ www.gorki.de/en/liberation-day: On the occasion of the 70th anniversary of North Korea’s independence from Japan, the ex-Yugoslav cult band Laibach becomes the first foreign rock group ever to perform in North Korea in 2015. This sounds absurd, as Laibach itself was controversial and even banned in the country where the group was formed. A film team, including co-director Morten Traavik, who organised the concert, accompanies Laibach on their journey to what is still the most isolated country in the world and documents the rehearsals, which are repeatedly interrupted by technical breakdowns and requests for changes from several censors. Finally, Laibach play cover songs from The Sound of Music in front of 1,500 hand-picked and only moderately enthusiastic listeners. Meanwhile, propaganda loudspeakers are set up on the border between the two Koreas, pointing out the increasing international tensions.
Film screening followed by Q&A with Ivan Novak (Laibach) and Daniel Miller, moderated by Boris Buden
#46 • [10. Dez 2023] “Reporter without Borders: Handover of the peace dove to the Russian initiative OVD-Info – Award Ceremony and Panel”
↪ www.gorki.de/en/reporter-ohne-grenzen-ubergabe-der-friedenstaube-an-die-russische-initiative-ovd-info: On 10. December, Reporter ohne Grenzen (RSF) presents the Goldene Friedenstaube to the Russian human rights and media project OVD-Info. The award honours the initiative’s many years of commitment to investigating politically motivated repression. Since its foundation in 2011, OVD-Info has published news about arrests, violations of freedom of assembly and the suppression of protests. OVD also provides legal aid for politically persecuted people.
The Goldene Friedenstaube Human Rights Prize has been awarded since 2008 to institutions and individuals who are committed to international understanding and human rights. After one year, the respective award winner passes on the Goldene Friedenstaube to another institution worthy of the award. This is intended to create a global peace network. The laudatory speech will be given by Alice Both, editor of Die Zeit and former Moscow correspondent. This will be followed by a panel discussion with journalist Grigory Okhotin and human rights lawyer Violetta Fitsner from OVD-Info as well as Gemma Pörzgen from Reporter ohne Grenzen project
With: Alice Bota, Grigory Okhotin, Violetta Fitsner, Gemma Pörzgen
#43+44+45 • [16/17/18. Nov 2023] “Mass for Yugoslavia – Guestperformance”
↪ www.gorki.de/en/mass-for-yugoslavia: Although it has been history for more than 30 years, Yugoslavia is still used as a scarecrow for threatening anybody who refuses to accept the logic of national identities and remembers that across the present borders of former socialist republics still live humans and monsters like us. Someone not so well-intended, might add: some of us live in EU and some of us outside of it, with no prospect of joining it.
Most of us understand each other without translators, although national linguistic politics did everything imaginable to convince us that we can’t understand each other without subtitles.
Under those circumstances, what do we do with the culture that has been known as the Yugoslav one? We bury it deep in the mass-grave of our memories? And then wait for somebody to come and dig it out, expose its disembodied parts for identification?
Mass For Yugoslavia is a theatrical exhumation of the corpse of Yugoslav culture and embodiment of its different ghosts. It stands in the twilight zone between failed socialist dreams and realized capitalist nightmares. The play performs an autopsy of some of the most iconic Yugoslav art-works, showing us a paradox of fraternal love verging on mortal hatred, a paradox that was called Yugoslavia. It runs on the tension of what Yugoslavia might be and what it turned into. Between nostalgia for Yugoslavia and proscription of its memory, we choose neither.
No spoken text, music in Italian, Hungarian, Russian, Serbian, Spanish, English, Slovenian Greek, German with English surtitles
With Uroš Kaurin, Jerko Marčić, Nika Mišković, Draga Potočnjak, Matej Recer, Blaž Šef, Primož Bezjak/Vito Weis
A guest performance from Mladinsko Theater Ljubljana.
International co-production: Mladinako Theatre, Ljubljana; Croatian National Theatre Ivan pl. Zajc, Rijeka; BITEF, Belgrade; MOT, Skopje
#42 • [04. Nov 2023] “An Anti-War Center – Lecture Performance”
↪ www.gorki.de/en/an-anti-war-center: In this lecture performance, Ana Miljanić, (co-founder and director of the CZKD) traces the social, cultural, and political changes of the last three decades that have influenced the work of the Center for Cultural Decontamination (CZKD) in Belgrade. The Center is a non-profit cultural institution founded in 1994 in response to the need to articulate and sustain anti-war activities. Today, the Center clearly recognizes different circumstances at all levels of political life, from civil society to global political events. In collaboration with curator Ana Sladojević, Ana Miljanić reflects on what it means for an independent public institution to be political today, based on the Center’s archives.
In English, Followed by a Q&A with Oliver Frljić
#41 • [01. Nov 2023] “LAIBACH – Mi Kujemo Bodočnost (We Forge the Future) – Concert”
↪ www.gorki.de/en/konzert-laibach: We Forge the Future was the name of the Laibach performance that took place on 23/April 1983 as part of the XII. Music Biennale Zagreb. As a result of a fierce public and media campaign against the group, Laibach was formally banned in Yugoslavia until 1987. The group was founded in 1980 in Trbovlje, an industrial coal-mining town in central Slovenia. For the performance at the Gorki Theatre, Laibach will add to the programme new interpretations of songs they were supposed to perform in Trbovlje in 1980 with Rdeči revirji (Red Districts), their first multimedia project, which was meant to challenge the blatant contradictions of the political and cultural situation in the country, but which was banned. These interpretations were released on 1/January 2023 on the album Sketches of the Red Districts (GOD Records).
#40 • [31. Oct 2023] “Cement Beograd – Guestperformance”
↪ www.gorki.de/en/cement-beograd: Cement is a text in turmoil: starting from the revolutionary upheavals in the USSR in the 1920s, via the struggle between the emancipatory aspirations of its characters and their anchoring in traditional family relationships, it turns to the love relationship of the main characters Dasha and Gleb Chumalov. In this way, the influence of social relations is broken down to the most intimate level.
Inspired by the East German playwright Heiner Müller, Sebastijan Horvats’ production, which he developed with Milan Ramšak Marković, is set in present-day Belgrade. The relationship between trauma and memory, political dementia, as well as the conflicts inscribed in our bodies are some of the motifs that characterise this work. The play won the »Mira Trailović« Grand Prix at the 54th BITEF Festival, and Miodrag Krstovic won the »Raša Plaović « award in the »Best Actor« category of the Belgrade Theatres 2020/2021.
In Bosnian/Croatian/Serbian with English surtitles
With Milena Zupančič, Miodrag Miki Krstovic, Mina Nenadovic, Milan Zarić, Ivan Zablaćanski, Isidora Simijonović, Marija Pikić, Milos Lazarov
A guest performance from Belgrade Dramatheatre.
#39 • [29. Oct 2023] “The relevance of Non-Alignment today – Panel”
↪ www.gorki.de/en/the-relevance-of-non-alignment-today: In a world deeply affected by climate crisis, nuclear threat, wars and the rise of nationalisms, there has been a renewed interest in the relevance of Non-Alignment today. Originally it was a response to the bi-polarization of the world during the Cold War with the creation of the Non-Aligned Movement (NAM) uniting countries and struggles against imperialism, colonialism, racism, occupation and all sorts of foreign agression. Today, we don’t live in a bipolar world anymore and yet the world is still close to a nuclear catastrophe or a new world war. Thus the question of Non-Alignment also confronts us with new challenges. This timely discussion gathers leading scholars on NAM and will dive not only into its history, accomplishments and contradictions. The question of the talk with Dubravka Sekulić, Paul Stubbs and Srećko Horvat is not only what we can learn from the Non-Aligned Movement, but also about what its relevance is today.
#38 • [28. Oct 2023] “A Hole in the Soul _ Everything you wanted to know about socialist Yugoslavia (but were afraid to ask) – Lecture”
↪ www.gorki.de/en/a-hole-in-the-soul: Borrowing its title from a self-portrait documentary of the legendary Yugoslav filmmaker Dušan Makavejev from the 1990s, the lecture will dive into the history of socialist Yugoslavia from its creation out of the ruins of WWII to ist collapse in the bloody war of the 1990s. Starting from the guerrilla fight and antifascist resistance, through the main pillars of the Yugoslav socialist system such as self-management and Non-Aligned Movement, Srećko Horvat will explore the achievements, contradictions and failures of socialist Yugoslavia.
#37 • [22. Oct 2023] “Four Faces of Omarska // Public Session #3 – Deferred Action, a Retrospective Archeology for the Cinema of Sudan – Panel”
↪ www.gorki.de/en/four-faces-of-omarska-public-session-3: The session brings into discussion remnants of Sudanese Cinema through the urban archipelago of remaining open-air cinemas in Khartoum. It looks back at the history of social, political, and economic conditions after Sudan’s independence in 1956 and how this artistic phenomenon and its urban manifestations reveals today. Exploring cinema’s emergence as a political space, especially under the influence of various socialist movements led by the Sudanese Socialist Union (SSU) in the 1970s and 1980s, the program includes film screenings by The Sudanese Film Group founded in 1989.
Anousheh Kehar, Philipp Sattler and Milica Tomić will be in conversation with Abdelrahman Elbashir guest.
#36 • [21. Oct 2023] “Four Faces of Omarska // Public Session #2 – Broken Violence – Panel”
↪ www.gorki.de/en/four-faces-of-omarska-public-session-2: Thinking about the multilayered history of the Omarska mine, the session brings into view how globalisation and local dynamics shape ethnic violence and resistance. It focuses on affective labour as protest and rebellion, which goes beyond trauma management and explores traumatic knowledge as a challenge to the ethno-capitalist governance of life.
Anousheh Kehar, Philipp Sattler and Milica Tomić will be in conversation with Arjun Appadurai and Jasmina Husanović.
#35 • [20. Oct 2023] “Four Faces of Omarska // Public Session #1 – The Construction of Law and Self – Panel”
↪ www.gorki.de/en/four-faces-of-omarska-public-session-1: The session raises questions about the history of art practices that have sought to address the trauma of war and economic transition in the post-Yugoslav space. It asks how memory becomes history, and how individual knowledge and traumatic experience catalyze legal formations into international legal paradigms. The guests will discuss the war and the post-Dayton Bosnian state through the paradox of waste as social wealth.
Anousheh Kehar, Philipp Sattler and Milica Tomić will be in conversation with Ivana Bago, Nusreta Sivac and Damir Arsenijević.
#34 • [14. Oct 2023] “Long Live The War! – Performance”
↪ www.gorki.de/en/long-live-the-war: After living in pre-war, war, and post-war societies in Yugoslavia and Croatia, Siniša Labrović came to Berlin in 2018 to escape the permanence of neurosis. Then, however, the war in Ukraine and revisionist and xenophobic forces caught up with Europe, reminding Labrović of the pre-war situation he experienced. For his performance Long live the war! he thus invites participants to take part in five military disciplines. In each discipline, an expert jury will award the best with a medal. The credo of the performance is: heroes must be recognized and deserve glory.
Performance by
Siniša Labrović
#33 • [07. Oct 2023] “Imagining a “better” post-Yugoslav society – Panel”
↪ www.gorki.de/en/imagining-a-better-post-yugoslav-society: Based on the works Zenica Trilogy and Vedo artist Danica Dakić and curator Amila Puzić discuss the utopian potential of art in our present and the poetic and political act of taking responsibility. (How) can the works set in two cities in contemporary Bosnia be read as an imagination of a »better« post-Yugoslav society?
↪ www.gorki.de/en/activating-four-faces-of-omarska-0: The first Public Session of Four Faces of Omarska at the 6th Berliner Herbstsalon will present the new iteration of the exhibition. Milica Tomić, Anousheh Kehar, Philipp Sattler and Amel Beslagić will introduce and guide the audience through the exhibition, each of them taking a specific look at the interlinked history of the Omarska site in its –discontinuities and continuities. They will delve into the research material that sheds light on the ethnicization of society, privatization processes, political-economic organizations of land use, and exploitative labor practices within post-war societies. While discussing theoretical, methodological, and practical challenges in presenting visual documentations of collective investigative processes, the activation of the exhibition will feature a conversation with Dubravka Sekulić, including a discussion of her research contribution I am building a house, yet I own not a single stone (Kuću gradim, a kamena nemam).
↪ www.gorki.de/en/uprooted: The Russian war of aggression in Ukraine has had horrific consequences for many children. As a particularly vulnerable group, they are especially affected – suffering from violence, traumatization, fleeing and displacement. Families, entire childhoods, are destroyed. According to the 2023 OSCE report and human rights organisations, thus far some hundreds of thousands of children have been abducted and taken to Russia.
What does the war mean for the children of Ukraine? How can universal children’s rights be upheld in the midst of a war? How can civil society in Europe support affected children? What legal consequences must be faced by those responsible?
Conversation in English with simultaneous translation into German.
Die Veranstaltung ist Teil der Diskussionsreihe EVZ Conversations! In Kooperation mit der Stiftung Erinnerung, Verantwortung und Zukunft
With
Marieluise Beck, Anna Lenchovska
And
Dr. Andrea Despot, Dr. Elīna Šteinerte
Moderation
Mattia Nelles
#30 • [21. June 2023] “‘Gezi – Ten Years After’ – Trans X Istanbul – Screening + Talk”
↪ www.gorki.de/de/trans-x-istanbul: How does hate murder develop? The film accompanies Ebru, a trans woman from Istanbul who fights against the displacement and murder of her companions. She has experienced exclusion from state, society and family in her own life. She wants to change Turkish society with humor, self-irony and political acumen. She meets Margarethe, a 85-year-old German retired nurse and establishes with her a retirement home for trans people. The film shows how hate speech develops to hate murder in a structure with many different components. Urban transformation of Istanbul and the protests around the Gezi Park in 2013 resonate throughout the film.
DEU, 2014, 109 min | Regie Maria Binder
#29 • [23. June 2023] “‘Gezi – Ten Years After’ – Köcek – Screening + Talk”
↪ www.gorki.de/en/kocek: The film stars Müjde Ar as the intersex character Caniko. Caniko plays ball with the men in the neighborhood and makes music in the streets with the all-male mobs. One evening, while drinking and having fun in a tavern, Acenta Rıza’s men kidnap Caniko. When they attempt to rape them, they realize they have a penis and stab them. Caniko is hospitalized and is made a woman through forced surgery without their consent. Starting a new life, Caniko takes the name Raziye and starts working as a dancer at Naciye’s, who runs a brothel. Having difficulty adjusting to womanhood, Raziye meets Adnan, a football player she knew from her old life.
TUR, 1975, 82 min | Regie Nejat Saydam
Q & A with Yunus Ersoy & Anthony Hüseyin
Moderation Sinem Deniz
#28 • [25. June 2023] “‘Gezi – Ten Years After’ – Benim Cocuğum – Screening + Talk”
↪ www.gorki.de/en/benim-cocugum: What happens when your child comes out? My Child is a feature documentary about parents of lesbian, gay, bisexual, trans individuals in Turkey, intimately recounting their personal experiences. In the documentary, which takes the viewer to five homes in Istanbul, families of LGBT individuals talk about their own parenting experiences, their children’s periods of growing up and coming out, the difficult paths they went through in coping with this process, how they shared this situation with their own families, and the processes in which they relearned what it takes to be a parent. Their experiences share common themes of denial, trauma, helplessness, fear, shame, acceptance and rebirth. They talk about how they had nothing to prepare them for this experience. Neither any of the parenting manuals, nor what was passed down to them from their elders, nor the education they received in schools addressed what it might be like to be the parent of an LGBT child.
TUR, 2013, 82 min | Regie Can Candan
Moderation Sinem Deniz
#27 • [25. June 2023] “‘Gezi – Ten Years After’ – Annemin Kaburgasi – Reading + Talk”
↪ www.gorki.de/en/annemin-kaburgasi: Was there really an essence that made me who I was? Had my body, my voice, my tongue, the place I called home changed, had I become a different person? However, I had gradually brought out the person I was, despite everything and everyone who tried to destroy it.
My Mother’s Rib is the story of those who are proud of their identity, those who live love freely, those who know the language of immigration best, those who challenge the social domination over sexuality, those who are tired of stereotypical values and uniform lifestyles.
Burçin Tetik responds to the divisive discourses and the language of anger that surrounds our lives with all the colors of the rainbow. Original, sensitive, brave… As in that famous song, somewhere above the rainbow, all the way up…
#26 • [27. May 2023] “‘Gezi – Ten Years After’ – Medz Bazar – Concert”
↪ www.gorki.de/en/konzert-collectif-medz-bazar-0: The band Collectif Medz Bazar was founded in Paris in 2012. In their stage shows, Armenian, Kurdish, Turkish, Arabic and Persian song traditions meet explosive rhythms and pop elements. The group combines traditional repertoire with original compositions full of musical and textual creativity. On stage, Collectif Medz Bazar offers a successful balance between tempered instruments and music from the modal traditions, Middle-Eastern percussions and Parisian voices of various origins.
Collectif Medz Bazar: Ezgi Sevgi Can, Shushan Kerovpyan, Vahan Kerovpyan, Elâ Nuroğlu, Marius Pibarot, Nicolas Vercambre
#25 • [3. June 2023] “‘Gezi – Ten Years After’ – Mengene – Concert”
↪ www.gorki.de/en/konzert-mengene: The rock band Mengene combines ethnic music styles with alternative and modern rock. Mengene will delight audiences with their »Deyiş«, Alevi musical narratives, compositions and new interpretation of Turkish folk songs.
With Onur Akova, İrfan Akpınar, Barış Atay, Mehmet Kartal, Mişel Kocamahhul, Nihat Mugil
#24 • [26. May 2023] “‘Gezi – Ten Years After’ – Aylin Aslim & Doğan Duru – Concert”
↪ www.gorki.de/en/konzert-aylin-aslim-und-dogan-duru: Since her 2000 debut album Gelgit, Aylin Aslım has been writing and singing original songs and has released four solo albums and many singles to date. In her songs, Aslım touches on social issues such as women’s rights and and has, among other things, contributed her music to the soundtrack of the film Gegen die Wand. She has been performing for more than 25 years. Doğan Duru is a founding member of the rock band Redd. As a tenor, he also worked in opera houses in Italy and Turkey.
#23 • [6. June 2023] “‘Gezi – Ten Years After’ – Avzer – Performance”
↪ www.gorki.de/en/avzer: Avzer… 2013… A child who lives on the streets… One morning he wakes up and experiences a day that nobody can imagine. He doesn’t really understand what’s going on. But he never really tries to understand it either.The play tells the story of the Gezi resistance from the perspective of Avzer, a street child. Avzer/Mustafa is a child who was left by his mother in the orphanage at the age of three. As he grew older, he ran away and started living on the streets. He slept in the then-under-construction Sakarya Ankara City Hall. One night he goes to sleep and when he wakes up, he encounters a completely different Kızılay. He is swept away by the crowd, the enthusiasm, and the atmosphere of brotherhood.
With Ahmet İlker Ergin Technical Director Ahmet özer Dramaturge Egemen Kalyon Music Ömer Sarigedik Project Assistant Sezer Gündüz
#22 • [7. June 2023] “‘Gezi – Ten Years After’ – Üftade – Performance”
↪ www.gorki.de/en/uftade: Üftade means, in its literal sense, someone who is addicted and dependent on the help of others. It also means someone who longs for past days after experiencing disasters. At the same time, »Üftade« is the name of the street where a theater was located, only 100 meters away from Gezi Park… In the 2010s, many small theaters were opened in Istanbul. Founded particularly by young people, these theaters completely changed the system and revolutionized the understanding of »new« theater. These theaters in Beyoğlu played an important role during the Gezi resistance in 2013. They tried to bring their revolution onto the stage because there could not be a better stage than Gezi for these theaters that had something to say about the world, life, and the country. Üftade is the story of a small theater that was located right next to Gezi Park at that time. It is the story of a theater that was transformed into a hospital by the resistors, where the injured found refuge and doctors could work. During the Gezi resistance, this theater did what it did best: heal wounds, heal people, and give them some breathing room.
With Ahmet Özer, Sandra Ruffin, Ufuk Tan Altunkaya Music Coşkun Akmeriç Project Assistant Sezer Gündüz Dramaturg Egemen Kalyon
#20-21 • [26. + 27. May 2023] “‘Gezi – Ten Years After’ – Eviction – Public Action by Omer Krieger”
↪ www.gorki.de/en/eviction-public-action-by-omer-krieger: Every year millions of people all around the world are evicted from their homes by forces of state and capital. At the same time confl icts about public space are intensifying. People stand up for their human right for housing. Moving on a spectrum between the aesthetic and the political, the spectacular and the useful, the documentary and the forthcoming, this action serves as a space to learn and exchange practices of togetherness and collective resistance.
Eviction is a project by Omer Krieger, produced by the Curatorial Collective for Public Art, and presented at the Maxim Gorki Theater. The Berlin edition is supported by the National Performance Network, and its mediation programme by the Federal Agency for Civic Education. It premiered at the Israel Festival, Jerusalem in September 2022.
by Omer Krieger project management: Lianne Mol & Yael Sherill, Curatorial Collective for Public Art performers: Laure Fleitz, Katherine Maria Gorsuch, Yulia Mezhetskaya, Marcos Zoe Nacar, Rima Nasereddin, Victor Manuel Gonzalez Reyes, Luana Rossetti, Melodi Yüce movement choir: Cochon de Cauchemar, Kate Manias, TL Morrison, Alina Koval, Nyemba M’membe, Ivy Fleur, Anna Blume, Louis-César Brunhy, Fei Kaldrach, Heli, Annika Utzelmann, Mahalia Horvath, Amanita Zinaida Vulvina, Käthe Lange, Juliane Harbst, Gelsomino dramaturgy: Yael Sherill additional choreography & rehearsal management: Tomer Zirkilevich set design: Franz Thöricht & Jascha Kretschmann costume design: Anna Mirkin sound design: Binya Reches production management: Uwe & Silke Buhrdorf, die wellenmaschine assistant director: Filip Rutkowski dramaturgy assistance: Clemens Zoller stunt coordination: Florian Hotz project administration: Lianne Mol video: Rebellab
Note: Depiction of police violence. Physical contact with the performers may occur.
#15-18 • [03./10./17./24. June 2023] “‘Gezi – Ten Years After’ – The Yurt. Resilience in Practice – Workshops”
↪ www.gorki.de/en/the-yurt: Raising your voice, opposing injustice, countering disinformation. All of these things are required for social change and humanitarian work. But the results can barely be detected, the battles aren’t going to be over tomorrow. How can we make our activism and engagement sustainable? To keep the »spirit of Gezi« alive in Berlin, the Yurt serves as a place to fill yourself up with new energy, have creative discussions, and practice both self-care and care for the community with workshops and conversations all around Peter Steudtner’s »hammock of solidarity«.
(C) Egbert Trogemann
#14 • [26. May 2023] “‘Gezi – Ten Years After’ – Painting the Decade – Exhibition”
↪ www.gorki.de/en/painting-the-decade: The wall installation of Berlin-based painter Timur Çelik brings together decisive moments of oppression and hope that have shaped the collective memory of Turkish society and portraits of the main protagonists in the political struggle against the authoritarian regime in the recent past.
(C) Egbert Trogemann
#13 • [26. May 2023] “‘Gezi – Ten Years After’ – Silivri. Prison of Thought | Silivri Müzesi – Exhibition”
↪ www.gorki.de/en/silivri-prison-of-thought-silivri-muzesi: Silivri, the high-security prison for men outside Istanbul, is more than a prison. It is a symbol, not only for the precarious situation of critical thinkers in authoritarian systems, but also for their fighting spirit which is nearly impossible to break. Because thinking continues behind walls as well. Numerous journalists, intellectuals and human rights activists are held in Silivri, which is known as the »largest journalist prison«. »What you see is not merely a prison cell, it is much more a miniature of Turkey, the largest journalist prison in the world« (Can Dündar).
Silivri Müzesi (2023) takes its title from the utopian hope back in 2021 that, in the 100th year of the Republic of Turkey, Silivri prison will have turned into a museum. In virtual reality, however, the museum is already open and allows visitors to enter various places, such as an individual prison cell or the room from which prisoners must all too often participate in their trials merely through video.
(C) Egbert Trogemann
#12 • [26. May 2023] “‘Gezi – Ten Years After’ – The Gezi Trial + the Gezi Seven – Exhibition”
↪ www.gorki.de/en/the-gezi-trial-the-gezi-seven: The Gezi trial is the embodiment of hostile criminal law. Within the scope of this case, actions which, in an average democratic country, would amount to gathering and marching in demonstration, have been criminalized due to certain »political motives« at the highest level of the state. Due to the gaps, irrational inconsistencies, and arbitrary specifications they contain, the indictments have done irreparable damage to Turkey’s justice system. Eight people who are alleged to have organized the demonstrations were sentenced to 18 years in prison under TCK 312/1, one of the most severe charges in the Turkish Criminal Code (»attempting to overthrow the government of the Republic of Turkey or prevent it from performing its duties by use of force and violence«), with one sentenced to aggravated life imprisonment. There is an ongoing threat of prosecution, or – more accurately – punishment, for nine individuals for whom an arrest warrant has been issued. Despite ten years having passed since the events, dozens of people who took part in the investigation led by specially authorized prosecutors have yet to appear before the court and are said to be in the »second chamber«, and are still facing the same threat of punishment.
(C) Egbert Trogemann
#11 • [26. May 2023] “‘Gezi – Ten Years After’ – Biz Zalime Güleriz Bizim Orada – Exhibition”
↪ www.gorki.de/en/biz-zalime-gueleriz-bizim-orada: For decades the language of the protests at Taksim Square were shaped by determinism and heroism. But when the masses took the full control of the square in June 2013, a completely different voice emerged: through the chants of the ultras groups, jokes borrowed from the long humour-magazine tradition, queer slang, pop-songs, and meme-culture, the events took a truly carnivalesque character. With a selection of caricatures and magazines from the period, KAHVEHANE will pay tribute to the joyful, lively and gay side of the whole »Gezi adventure«.
(C) Egbert Trogemann
#10 • [26. May 2023] “‘Gezi – Ten Years After’ – Museum of small things – Exhibition”
↪ www.gorki.de/en/museum-of-small-things-and-more-programm: Over the last decade, the authoritarian regime in Turkey has imprisoned hundreds of critical journalists, academicians, activists and opposition politicians. The documentary exhibits that are presented in the lightsalon and adjoined rooms give an insight into the repression that marked Turkey’s recent history. Whereas Can Dündar’s Prison of Thought, a replica of a prison cell at the high-security Silivri prison, illustrates the claustrophobic reality of confinement, the video installation Museum of Small Things, conceived by Dündar and Hakan Savaş Mican, trace the prisoners’ striving to defy intimidation. To support the ridiculous narrative that the Gezi Revolt was not a genuine protest by the masses but an external conspiracy against the government, the judicial system, tightly controlled by Erdoğan, also punished a group of public figures with trumped-up charges. Courtroom sketches, expert reports, folders with court documents and a video documentary describing the crucial aspects of the Gezi trial are part of the material that exposes the ruthless revanchism of the regime.
(C) Egbert Trogemann
#08+09 • [31. Mar & 1. Apr 2023] “Archivo Madre – Lecture Performances”
↪ www.gorki.de/en/archivo-madre: Archivo Madre is a lecture-performance program where migrant artists from different countries in Latinoamérica investigate their own archives around motherhood. During six months, six women from Argentina, México, Chile, and Colombia (among others) have created their lecture-performance as a result of this collective workshop process.
Curated by Lola Arias
Dramaturgy and Production Lola Arias Company: Laura Cecilia Nicolás
Production Karne Kunst: Marcela Villanueva, Belén Marinato
Lecture-Perfromances by and with Jasmine Bakalarz, Laura Jimenez, Anna Marsical, Nicol Rivera Aro und Laura Santos
Archivo Madre ist ein Projekt des Sorora e. V. in Zusammenarbeit mit der Lola Arias Company und Karne Kunst, gefördert durch die Prozessförderung des Fonds Darstellende Künste.
#07 • [08. Mar 2023] “Eren – Screening + Panel”
↪ www.gorki.de/en/eren: Eren portrays a woman who has been fighting for fundamental rights and peace in Turkey for more than 30 years. As a lawyer and human rights defender, Eren Keskin is one of the main actors and plaintiffs for women’s, LGBTQIA+ and minority rights, opposing torture and sexualized violence. Her strong sense of justice knows no taboos, shaking even the foundations of the Turkish state. Now she has been designated an enemy of the state and has to defend herself. She faces a life sentence in more than a hundred criminal cases. How much time she has left in freedom, she doesn’t know. At any moment she could disappear behind bars forever.
Documentary by Maria Binder D, 2023, 95min, Turk. OV with german and english subtitles. Followed by film discussion with Dr. Hilal Alkan, Maria Binder Moderation Birgit Michaelis. In Kooperation mit Amnesty International, Kotti e.V., Film Five und Cornix Film.
#05-06 • [02. + 03. Mar 2023] “The Last Word – Stage Performance”
↪ www.gorki.de/en/the-last-word: The performance is based on last words of women accused of political crimes in Russian courts. Their outspoken message in a court room becomes the only matter of free speech one can imagine in contemporary Russia. The performance gathered »last words« of defendants such as Maria Alyokhina, Nadezhda Tolokonnikova, Alla Gutnikova, Sasha Skochilenko, Zarifa Sautieva and others to shine light on their courage and to paint a picture of Russia’s current regime.
By: Anna Narinskaya
An idea by: Alisa Khazanova
Directed by: Maxim Didenko
With their Songs of Gastarbeiter compilations, AYKU documented their parents’ music, which was part of the daily lives of millions of people in this country but remained completely unknown to the broader German public. They are an important part of the social and economic achievements of this generation whose work is still underrated. Pioneers who used their music to address their living and working conditions and were shrewd observers of German society and politics.
#03 • [16. Feb 2023] “AŞK, MARK VE ÖLÜM (LIEBE, D-MARK UND TOD) – Screening + Panel”
At the beginning of the 60s, people from Turkey brought not only their manpower to Germany but also their language, culture and music. A lively music scene emerged which had its roots in Anatolia, but its heyday was in Germany. It’s still onmipresent today. Cem Kaya’s gripping documentary was awarded the Panorama Audience Award at the 72nd Berlin International Film Festival. – Talk with Cem Kaya after the screening.
Documentary, D, 2022, 96 min
#02 • [05. Feb 2023] “Zekamerone – Panel + Reading”
Maxim Znak, a brilliant lawyer and prominent member of the Belarusian opposition, was arrested in autumn 2020 and sentenced to ten years in prison in September 2021. In his Zecameron (from »zek«, the Russian acronym for prisoner), written in the first year of his imprisonment, he recounts his new daily routine in a way that’s pithy, ironic and surprisingly funny. His stories bear witness to resistance and self-empowerment, to the processes, both quiet and loud, of going mad.
In Cooperation with Suhrkamp Verlag and the publication OSTEUROPA
Kurt Tucholsky, master of mockery and writer, was born on January 9th, Tucholskystraße is right around the corner and our theatre columnist Mely Kiyak is the current Tucholsky prize laureate – that’s already three reasons for the Gorki to remember, together with the Kurt Tucholsky Society, one of the most astute and critical writers of the Weimar Republic, and talk about what it means to use world affairs as material. Incorporating politics and contemporary history into satire, film, live comedy and columns has been a fixed part of Germany’s artistic tradition ever since Tucholsky, at the very latest. Mely, Fatih and Max are all part of this tradition, but hopefully they’ll disagree anyway. About when political thought in art turns into silly kitsch or when it hits at the core of art, namely its aspiration to tell stories of people and life.
In Cooperation with the Kurt Tucholsky-Gesellschaft
With: Mely Kiyak, Fatih Akin And Mehmet Yılmaz
Moderation: Max Uthoff
>>> 2022 <<<
#33-34 • [30. + 31. Dec 2022] “The Last Word – Stage Performance”
↪ www.gorki.de/en/the-last-word: The performance is based on last words of women accused of political crimes in Russian courts. Their outspoken message in a court room becomes the only matter of free speech one can imagine in contemporary Russia. The performance gathered »last words« of defendants such as Maria Alyokhina, Nadezhda Tolokonnikova, Alla Gutnikova, Sasha Skochilenko, Zarifa Sautieva and others to shine light on their courage and to paint a picture of Russia’s current regime.
By: Anna Narinskaya
An idea by: Alisa Khazanova
Directed by: Maxim Didenko
#32 • [02. Dec 2022] “Maryam Zaree ‘Born in Evin’ – Screening & Panel”
↪ www.gorki.de/en/born-in-evin: In her directorial debut Born in Evin (2019), director and actress Maryam Zaree, born in 1983, searches for answers to the history of the violent circumstances surrounding her birth in one of the most infamous political prisons in the world: Evin in Teheran. Attempting to break the silence in her family around the imprisonment, she observes this place, where the participants in the recent protests have been jailed and not that long ago, in October 2022, several political prisoners died in a major fire. Her film was honoured with the Compass Perspective Award at the 2019 Berlinale and received the German Film Award for Best Documentary in 2020.
A discussion with Maryam Zaree and journalist Gilda Sahebi will follow the screening
#31 • [22. Nov 2022] “Prosa der Verhältnisse #25 – Mohamed Mbougar Sarr “Menschen, Erinnerungen, Geheimnisse.” – Book presentation”
↪ www.gorki.de/en/prosa-der-verhaltnisse-25: Mohamed Mbougar Sarr was born in Dakar in 1990 and grew up in Senegal before studying literature and philosophy in France. He has already published three novels, for which he has been awarded the Prix Stéphane Hessel and the Grand Prix du Roman Métis, among other honours.
In a conversation on the Studio stage, two authors, Mohamed Mbougar Sarr and Deniz Utlu, will reflect on the writing of contemporary literature. They will focus on the creation of literature in exile, texts by African authors in the diaspora, and the search for truth. Selected passages will be read from Sarr’s Prix Goncourt-winning novel, The Most Secret Memory of Men, before it celebrates its Germanlanguage release at the Literary Colloquium Berlin on 24/November 2022.
In this, his latest book, Sarr tells the story of a young Senegalese writer in Paris, whose life and views on literature are completely changed after he comes across a text by the forgotten »Black Rimbaud,« T. C. Elimane.
With Mohamed Mbougar Sarr
Curated and presented by Denİz Utlu
Text samples read by Abak Safaei-Rad
The series Prosa der Verhältnisse is organized in cooperation with the Friedrich-Ebert-Stiftung.
#30 • [22. Nov 2022] “AZADÎ in Progress – Panel Discussion”
↪ www.gorki.de/en/azadi-in-progress: Ever since 22-year-old Jina Mahsa Amini was murdered on September 16th, Iranians have been taking to the streets. Even though people are imprisoned, tortured and killed every day, the protests continue and have grown into a revolution: people of all ages and educational backgrounds, in rural areas and cities, calling for an overthrow of the regime.
The rights of LGBTQIA+ people are also at stake. In September lesbian activists Zahra Sedighi (Sareh) und Elham Choubdar were sentenced to death for “corruption on earth by promoting homosexuality.”
Our discussion asks: What role is Germany playing? What could solidarity look like in light of the censorship, internet shutdowns – and sanctions? What needs to happen for AZADI to become a reality?
Panel with Shadi Amin, Bijan Djir-Sarai, Nargess Eskandari-Grünberg, Julia Franck and Hengameh Yaghoobifarah.
Moderation: Ronya Othmann
This event is produced in cooperation with PEN Berlin and 6Rang (Iranian Lesbian and Transgender Network).
#29 • [18. Nov 2022] “Prosa der Verhältnisse #24 – Aslı Erdoğan “Requiem für eine verlorene Stadt” – Book presentation”
↪ www.gorki.de/en/prosa-der-verhaltnisse-24: Aslı Erdoğan is a writer, human rights activist, particle physicist and former political prisoner. Her novel Requiem für eine verlorene Stadt (Requiem for a Lost City), now newly published in German, is a poetic and melancholic love letter to the city of Istanbul. It follows a nameless heroine as she goes into exile from her Turkish homeland, giving some insight into how the protagonist thinks and feels about politics, feminism and culture.
Aslı Erdoğan is an artist in residence at the Maxim Gorki Theater for the 2022/23 season.
By and with Aslı Erdoğan
Curated and presented by Denİz Utlu
Text samples read by Lea Draeger
The series Prosa der Verhältnisse is organized in cooperation with the Friedrich-Ebert-Stiftung.
#28 • [27. Oct – 6. Nov 2022] “Silivri” & “Museum of small Things” on Tour at Festival “Nachbarschaften” at Thalia, Hamburg
↪ www.gorki.de/en/silivri-prison-of-thought: Silivri, the high-security prison for men outside Istanbul, is more than a prison. It is a symbol, not only for the precarious situation of critical thinkers in authoritarian systems, but also for their fighting spirit which is nearly impossible to break. Because thinking continues behind walls as well. Numerous journalists, intellectuals and human rights activists are held in Silivri, which is known as the »largest journalist prison«. The renowned journalist Can Dündar, former editor-in-chief of the Cumhuriyet newspaper, also served time there.
Living in exile in Berlin, Dündar curates an abstracted, nearly true-to-scale reproduction of a cell – a room 3.94 meters long by 3.71 meters wide, cramped and hostile to life. The cell, designed by Shahrzad Rahmani as a free-standing, transparent object, references more than the individual fate of the occupant. In addition to well-known prisoners such as Ahman Altan, Osman Kavala, Peter Steudtner and Deniz Yücel, countless other intellectuals were, and are, held in cells of this kind. SİLİVRİ. prison of thought confronts visitors with a political reality in which journalists, artists and human rights activists are imprisoned for their work, their art, their words, their thoughts.
»What you see is not merely a prison cell, it is much more a miniature of Turkey, the largest journalist prison in the world« (Can Dündar).
(C) Lutz Knospe
↪ www.gorki.de/en/museum-of-small-things: The museum of small things by Can Dündar and Hakan Savaş Mican tells the stories of political prisoners in Turkey with everyday objects – most of these objects come from the »world’s largest prison for journalists«, Silivri prison, where Can Dündar was imprisoned as well. The seemingly little things from the daily lives of 12 prisoners – a song hummed over the telephone, a letter in a bottle, or an undershirt used as a screen – serve as the starting point for actors Sesede Terziyan and Taner Şahintürk to invoke something much larger: Thoughts cannot be locked away. Or as Ahmet Altan wrote: »They can walk through walls, effortlessly.« The journalist Can Dündar collected the stories of Osman Kavala, Selahattin Demirtaş or Deniz Yücel and many more, who were or are currently in prison in Turkey, writing them down in order to underline their creativity and strength in situations that appear hopeless. By telling their stories he alludes to the situation of all political prisoners in Turkey who have been and will be imprisoned unjustly.
»You will all see, once again, that no ban, no repression, no isolation will ever be capable of limiting a thinking mind.« (Can Dündar)
The stories were written down and curated by journalist Can Dündar, the video-installation museum of small things was directed by Hakan Savaş Mican.
(C) Ute Langkafel
The 5. Berliner Herbstsalon 2021 – 2022 presents stronger still. exhibition – installation – talks, a project encompassing the prison no. 5 exhibition with works by Zehra Doğan, the SİLİVRİ. prison of thought and museum of small things installations, both curated by Can Dündar, and the witness exhibition with works by Timur Çelik.
stronger still was conceived on the occasion of Re:Writing the Future by Allianz Kulturstiftung.
In the series of 5. Berliner Herbstsalon 2021 – 2022.
Funded by the State of Berlin, Hauptstadtkulturfonds within the framework of Re:Writing the Future.
↪ www.gorki.de/en/bertolt-brecht-fluchtlingsgesprache: Anyone can become a refugee. More than eighty years ago, hundreds of thousands of people were forced to flee Germany at the risk of their lives. The German poet and theater maker Bertolt Brecht was one of them. From France to Denmark, Sweden, Finland, once across the Soviet Union to the USA: Along the individual stages of escape, renowned theater makers and authors such as Can Dündar, Jürgen Kuttner, Shermin Langhoff, Éric Ruf and Katharina Thalbach pursue the question of the extent to which Brecht sought to use the experience of foreign countries and exile for himself as an artist. A moving journey through time that leads directly to our own present. Film screening and discussion with film director Hedwig Schmutte, Can Dündar and Katharina Thalbach.
#26 • [30. Sep 2022] Delaine Le Bas: “Beware of Linguistic Engineering” – Closing Event
#19 • [30. May 2022] 11. Amnesty International Human Rights Award – Award Ceremony
↪ www.gorki.de/en/award-ceremony-11-amnesty-international-human-rights-award: The Ethiopian Human Rights Council (EHRCO) is to receive the Human Rights Award 2022 from the German section of Amnesty International. The award will be conferred in recognition of EHRCO’s selfless human rights advocacy in Ethiopia, which it engages in at great personal risk.
PRESENTATION
Aline Abboud
PRESENTER
MARY LAWLOR UN Special Rapporteur on human rights defenders
ARTISTS
Gungun Feat. Feven Yoseph
Baiba Skride
PARTICIPANTS
Dan Yirga
Markus N. Beeko
Befekadu Hailu
Fisseha Tekle
Dr. Martin Moryson
Swetlana Gannuschkina (Tbc)
#18 • [29. May 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “Afternoon Tea #3” – Panel
↪ www.gorki.de/en/sunday-afternoon-tea-3: In the series Sunday Afternoon Tea, Delaine Le Bas invites artists, curators and researchers to drink tea in the Gorki Garden and talk about the power of art and language.
#17 • [28. May 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “After Eight Club #3” – Live DJ Set
↪ www.gorki.de/en/after-eight-club: Dance to the tunes of Delaine Le Bas who within the series After Eight Club invites her music-friends from the U.K. to play cross-genre music exploring Delaine´s Playlist of international subculture.
#16 • [27. May 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “Performing Friday #3” – Performance
↪ www.gorki.de/en/performing-fridays-3: In a joint performance with Hugo S. Santos and Estera Sara, Delaine Le Bas revives the spirit of St Sara Kali George, a fictive patron saint merging mythical figures revered in three different cultures, St Sara, St Kali and St George. Through an indeterminate sexuality and an unidentifiable geographical origin, and drifting between the cultural codes of Afro-Brazilian tradition, Hindu tales and iconographies of Roma communities across Europe, St Sara Kali George joins in the minoritarian struggle against the oppressions of modern day capitalist world. In costumes created by Le Bas the figure of St Sara Kali George uses its wisdom to break away with binary clichés and to form a future of the many. Due to the pandemic, the work has been shown during the Berlin Biennale 11 without its performative aspect, but now, after two years, St Kali George becomes a »living sculpture« roaming at the Gorki.
#15 • [03. May 2022] Reporter ohne Grenzen: Pressefreiheit in Afghanistan – Book Presentation & Panel
↪ www.gorki.de/en/reporter-ohne-grenzen-pressefreiheit-in-afghanistan: Many still clearly remember the images of the Afghan people hoping to be rescued at the Kabul airport. But today we hear little about what has happened in the country since the Taliban seized power. German photographer Johanna-Maria Fritz has travelled Afghanistan multiple times and contributed her photos to the book Fotos für die Pressefreiheit (Photos for the Freedom of the Press), which will be released on World Press Freedom Day on May 3rd. At the book presentation we’ll discuss the current state of affairs with Fritz, the Afghan journalist and sociologist Shikiba Babori, and the Afghan television reporter Abdulhaq Omeri.
An event by Reporter ohne Grenzen e.V. in cooperation with the Maxim Gorki Theatre
#14 • [01. May 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “Afternoon Tea #2” – Panel
↪ www.gorki.de/en/sunday-afternoon-tea-2: In the series Sunday Afternoon Tea, Delaine Le Bas invites artists, curators and researchers to drink tea in the Gorki Garden and talk about the power of art and language.
#13 • [30. Apr 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “After Eight Club #2” – Live DJ Set
↪ www.gorki.de/en/after-eight-club: Dance to the tunes of Delaine Le Bas who within the series After Eight Club invites her music-friends from the U.K. to play cross-genre music exploring Delaine´s Playlist of international subculture.
#12 • [29. Apr 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “Performing Friday #2” – Performance
↪ www.gorki.de/en/performing-fridays-2: In a Co-Performance, Delaine Le Bas and Hugo S. Santos invigorate the exhibition with an eclectic performance, calling the audience up to »Beware of Linguistic Engineering«. Excerpts of media reports mingle with running thoughts on the current political situation are interwoven with a haunting soundscape by Justin Langlands, while the performers tirelessly resist powerlessness through the recreation of art and spirit.
#11 • [08. Apr 2022] Pretty Loud – Concert
↪ www.gorki.de/en/roma-day-concert: How will we be able and willing to practise freedom, love and self-empowerment in the future? PRETTY LOUD’s Roma Rap provides a possible answer to these questions. The feminist Rap-group from Zemun (Serbia) challenges patriarchal structures in art and society in a self-confident and artistically innovative way. An evening for and about a new self-image of the young Roma generation.
#10 • [03. Apr 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “Afternoon Tea #1” – Panel
↪ www.gorki.de/en/sunday-afternoon-tea-1: In the series Sunday Afternoon Tea, Delaine Le Bas invites artists, curators and researchers to drink tea in the Gorki Garden and talk about the power of art and language. For the opening weekend, artistic director Shermin Langhoff and curatorial advisor of the Gorki, Erden Kosova, will be guests of Delaine Le Bas.
#9 • [02. Apr 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “After Eight Club #1” – Live DJ Set
↪ www.gorki.de/en/after-eight-club: Dance to the tunes of Delaine Le Bas who within the series After Eight Club invites her music-friends from the U.K. to play cross-genre music exploring Delaine´s Playlist of international subculture.
#8 • [01. Apr 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “Performing Friday #1” – Performance
↪ www.gorki.de/en/performing-fridays-1: In a Co-Performance, Delaine Le Bas and Hugo S. Santos invigorate the exhibition with an eclectic performance, calling the audience up to »Beware of Linguistic Engineering«. Excerpts of media reports mingle with running thoughts on the current political situation are interwoven with a haunting soundscape by Justin Langlands, while the performers tirelessly resist powerlessness through the recreation of art and spirit.
#7 • [31. Mar 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – Exhibition
↪ www.gorki.de/en/delaine-le-bas-exhibition: The British artist Delaine Le Bas, who has already participated in previous autumn salons and was featured in the most recent Berlin Biennale, shows a radical change in her practice with her latest works. From Thatcherism to Brexit, Le Bas adopts an intersectional perspective in tracing the way language is constructed by neoliberal politics, while it reproduces existing exclusions and influences collective consciousness. She also invites the cultural sector to a self-critical discourse, because in Europe, it’s only the language about socially and legally disadvantaged minorities, such as the Romani and Sinti peoples, that has changed, while neither the broader society’s view of them nor their socio-economic and legal living conditions have. By sharing her text-based paintings and drawings, her diaries, experiences, thoughts and views on today’s societal unease, Le Bas creates a very personal universe in which critique becomes a matter of collective urgency. Complementary to the show, Le Bas invites co-performers, theoreticians, curators, activists and artists to frame the exhibition in three different recurring formats. 31/March – 26/June/2022
#6 • [17. Feb 2022] “Fokus Hessen – Reading”
↪ www.gorki.de/en/fokus-hessen-0: Theatre-maker Tuğsal Moğul presents the first material from his new play about the murders in Hanau in 2020. His NSU play, Auch Deutsche unter den Opfern (Germans Also Among the Victims, 2015), serves as its foil.
#5 • [10. Feb 2022] “Prosa der Verhältnisse #22 – Fatma Aydemir “Dschinns” – Book presentation”
↪ www.gorki.de/en/prosa-der-verhaltnisse-22: In the hope of a different, better life, Hüseyin worked hard in Germany for thirty years to finally fulfil his dream for himself and his family: owning a flat in Istanbul. But then on the day of the move, he has a heart attack and dies without ever being able to begin this other life. His family travels from Germany for his funeral, five fundamentally different people with very disparate ways of life and yet connected through the deep secrets, longings and scars they carry. Sasha Marianna Salzmann in conversation with Fatma Aydemir on her new novel, Dschinns (Jinns), which, full of power, beauty and melancholy, traces the history of a family and, in the process, takes a look deep into the past decades, as well as far into the future.
#4 • [03. Feb 2022] “Prosa der Verhältnisse #21 – Navid Kermani “Jeder soll von da, wo er ist, einen Schritt näher kommen. Fragen nach Gott” – Book presentation”
↪ www.gorki.de/en/prosa-der-verhaltnisse-21: On his father’s death bed, someone makes a promise: namely to pass on his understanding of his Islamic religion to his daughter. After the funeral he talks of God. He takes his daughter’s questions with him into his day and answers them while she’s at school. Night after night they talk about eternity, the black light, the centre of the world and much more.Deniz Utlu in conversation with Navid Kermani on his new book, Jeder soll von da, wo er ist, einen Schritt näher kommen. Fragen nach Gott (Everyone should come, from where they are, a step closer: Questions about
God), which approaches, with amazement, openness and enchantment, the fundamental topics of religion: life and death, impermanence and eternity.
#3 • [23. Jan 2022] “Lea Draeger – Wenn ich euch verraten könnte – Book presentation”
↪ www.gorki.de/en/buchpremiere-wenn-ich-euch-verraten-konnte: In her debut novel, Gorki actor Lea Draeger recounts the history of a family whose roots overshadow the present. Little by little a kaleidoscope emerges of wounds and speechlessness which shape the lives of grandmother, mother and daughter – they are all desperate and cruel, sad and yet strong. The daughter, however, will succeed in overcoming these inherited traumata.
#2 • [19. Jan 2022] “Medz Bazar – Concert”
↪ www.gorki.de/en/konzert-collectif-medz-bazar: The Hrant Dink special will conclude with a concert from the band Collectif Medz Bazar, in which Armenian, Kurdish, Turkish, Arabic and Persian song traditions mingle with pop elements.Collectif Medz Bazar was born through the meeting of eight musicians, who sing and play original arrangements of traditional music from Anatolia, the Caucasus, the Balkans and other regions. While the group’s music is rooted in this traditional repertoire, Collectif Medz Bazar also plays original compositions, which are the fruit of group sessions full of musical creativity and lyric writing. On stage, Collectif Medz Bazar offers a successful balance between tempered instruments and music from the modal traditions, Middle-Eastern percussions and Parisian voices of various origins (Armenian, Turkish, and Franco-American), inspired from Asia Minor’s or Iran’s folk music, as much as it is from Caucasian rabiz, rhythms of Thrace, with touches of Venezuelian music, operette, hip-hop, jazz and bluegrass.
↪ www.gorki.de/en/hrant-dink-gedenken: 12 years ago, on 19 January 2007, Armenian journalist Hrant Dink was shot in Istanbul in front of the building that housed his Agos newspaper. Even though the murderer has been convicted and condemned, the masterminds in the government machinery have yet to be held accountable. And there are reasons why. Hrant Dink always stood for reconciliation between Armenians and Turks, was relentless in making the perpetrators’ responsibility for the genocide a subject of discussion and tirelessly demanded the democratisation of today’s Turkey.
Can Dündar, former editor in chief of »Cumhuriyet«, has compiled a selection of Hrant Dink’s texts, contrasting them with transcriptions of the trial of the murderers.Framing the evening programme are two films, a panel discussion and a concert. The short film Swallow’s Nest (2007) by Bülent Arınlı tells of the Armenian orphanage near Istanbul, which Dink established. Focusing on an Armenian choir in Paris, the film The Choir (1996) gives an impression of life in the diaspora. In a conversation in Studio , two of Dink’s long-term associates – the family lawyer Fethiye Çetin and Karin Karakaşlı, an author at Agos – make reference to the contemporary situation in Turkey and beyond. Following the discussion, Stepan Gantralyan and Meline Popovian present songs of love, suffering and longing in their unique mixture of Armenian poetry.
↪ www.gorki.de/en/fokus-hessen: Theater-maker Tuğsal Moğul provides insight into an emerging play about the racist terrorist attack of February 19, 2020 in Hanau. His NSU play Auch Deutsche unter den Opfern (Germans Also Among the Victims, 2015) serves at its foil. In a following conversation moderated by Heike Kleffner with Niculescu Păun, the father of Vili-Viorel Păun, who was murdered in Hanau, and Ahmed I., who was stabbed in the back near Kassel in 2016, Hessen comes into focus, where both Halit Yozgat, Walter Lübcke were murdered by Nazis and the so-called “NSU 2.0” appears to be located.
↪ www.gorki.de/en/turken-feuer: A house goes up in flames. Five people die, three children and two women. Teenagers from the neighbourhood set the fire. The case is the subject of a flurry of media coverage, suddenly the little city is famous, but then everyone moves on to other stories. For the survivors and those killed by the attack, this night does not fade away. The mother who jumped out of the window and tried to protect the baby with her body keeps talking about when she jumped and the moment of her death. The mother of one of the perpetrators tells of the silence that weighed on their flat, the knowledge that something happened, the doubt about his guilt. The relatives who survived the fire see the flames in front of them every day, feeling the heat, smelling the smoke. Everyone stays imprisoned in their experience, their pain – and yet they seek communication, encounters, the possibility of a conversation.The arson attack in Solingen in 1993 is the starting point for türken, feuer (turks, fire). Reaching beyond the medial logic of attention and exploitation, Dündar searches carefully and precisely for a language for what happened, in which all perspectives are taken into consideration, and through this retains a painful timeliness.
#6 • [14. Nov 2021] “Rap, (post-)migrantisches Leben und Deutschland – Panel”
↪ www.gorki.de/en/inventur-30: In 1975 Yugoslav director Želimir Žilnik created an important work in the migrant culture of remembrance with his film Inventur – Metzstraße 11. The film records Žilnik’s interviews with guest workers from southern Europe, as they report on their lives from a stairwell in Munich. In Inventur 2.0 (2021) Pınar Öğrenci references this work and updates it for today: in a stairwell in Chemnitz, people mainly from the Middle East and Asia tell their stories.In a conversation following the screenings of both films, Pınar Öğrenci reflects on the changes that took place between the two films and what has happened since.
#1-4 • [6. / 7. / 13. / 14. Nov 2021] “Rechte Räume – Kritische Stadtspaziergänge durch die Berliner Mitte – Guided City-Tours”
↪ www.gorki.de/en/rechte-raume: The concept of a city tour that critiques racism and anti-Semitism, which has been continually developed and tested across multiple cities, enters a new phase.Using the Gorki as a starting point, multiple editions explore Berlin’s Mitte district: the programme includes, for example, Berlin’s city palace, the Marx-Engels Forum, and the Berlin state courthouse in Mitte. In addition to examining identitarian architecture of remembrance and vestiges of the colonial and National Socialist eras, these city tours also pursue questions regarding far-right crime scenes in urban spaces.The history, present and future of this district in the city centre will be observed and contextualized together. In the process, a wealth of architectonic-urbanist, city history and academic positions will be referenced. The tours showcase experts, artists and alliances from Berlin who remind us of repressed, forgotten and built-over histories, or make them visible in the first place.
6. Berliner Herbstsalon: LOST – YOU GO SLAVIA // 28. SEP – 10. DEC 2023
After Russia’s attack on all of Ukraine on February 24th, 2022, again and again the talk was of the first war in Europe since 1945. What? Didn’t we forget something? Our friends and colleagues from the former Yugoslavia rubbed their eyes in disbelief, and those of us who can, and want to, remember still have the names Osijek, Vukovar, Srebrenica, Sarajevo and Omarska ringing in our ears, just as we cannot get the names Bucha, Irpin, Cherson, Bakhmut und Mariupol out of our heads today. But isn’t that view again too Eurocentric? Aren’t much more global questions at play right now? What to do? How to face all the crises at home and around the world? These questions for the 6. Berliner Herbstsalon were already in the air during the prologue in spring: GEZİ – TEN YEARS AFTER. Now, in the second part, LOST – YOU GO SLAVIA, we take a look at what the bloody dissolution of Yugoslavia has to do with our present. Empires and state structures don’t just simply fall apart. That is what we saw 30 years ago, what we saw in Georgia in 2008, 2011 in Sudan and what we have seen in Ukraine since 2014. And what do our politics, our history, our ignorance have to do with all of that?THEATRE / EXHIBITION / PERFORMANCE / LECTURE / TALK / CINEMA
Curated by Shermin Langhoff and Oliver Frljić with Johannes Kirsten Curatorial assistance: Erden Kosova: Gabriela Seith, Nele Lindemann: Theresa Welge Scenography: Pia Grüter Scenography assistance: Ronja Bendel, Alice Faucher, Ruby Wisdom Project management: Alexa Gräfe Disposition: Simay Yasar Production management: René Dombrowski, Ivo Dreger, Lucia Leyser, Juliane Prochnow Technical production management: Joachim Hering: Laura Krupka
Gefördert aus Mitteln des Landes Berlin, Senatsverwaltung für Kultur und Gesellschaftlichen Zusammenhalt.
6. Berliner Herbstsalon I Ein Prolog im Frühling GEZİ – TEN YEARS AFTER
26.5. – 25.6.2023
According to an investigation conducted by Amnesty International in 156 countries across the globe, protest, in addition to seeking refuge, was the theme that gripped millions of people the most in 2022. In light of the crises and wars of our times, the question of WHAT TO DO? concerns us all. What futures can be rediscovered, and what will motivate us to act? The 6th Berliner Herbstsalon focuses on these questions and will be held in 2023 in two parts: In GEZİ – TEN YEARS AFTER. Ein Prolog im Frühling, we take the 10-year anniversary of the protests as an opportunity to analyse the current political upheavals and hoped-for revolutions. Following the presidential and parliamentary elections in Turkey, we ask: what state do the people, does the republic find itself in at the moment, especially after the catastrophic earthquakes? Gezi was and is a symbol for working together to build up a country worth living in. Together with participants active in Gezi and now living in exile, primarily in Berlin, GEZİ – TEN YEARS AFTER attempts to trace this legacy for the future.
Supported by the Federal Cultural Foundation. Supported by the Commissioner of the Federal Government for Culture and Media.
Curated by Shermin Langhoff Co-Curator Erden Kosova Assistant Curator Nele Lindemann Dramaturgy Simon Meienreis Curatorial Advisory Board Zehra Doğan, Can Dündar, Peter Steudtner, Deniz Yücel, Aslı Erdoğan Co-Curators of Spaces and Projects Serkan Altuniğne, Ezgi Asar, Zehra Doğan, Yeşim Duman, Şirin Fulya Erensoy, Yunus Ersoy, Anthony Hüseyin, Nil Mutluer, Alp Tekin Ocak, Murat Özbank, Necati Sönmez, Peter Steudtner Dramaturgs and Consultants for Spaces and Projects Ivo Dreger, Yunus Ersoy, Oliver Frljić, Valerie Göhring, Johannes Kirsten, Holger Kuhla, Çiğdem Özdemir, Clara Probst, Theresa Welge Assistant Filip Rutkowski Intern Clemens Zoller Scenography GEZİ Pia Grüter Scenography Assistant Alice Faucher, Luise Brinkmann Scenography Studio / Foyer Marco Michelle, Felix Remme Art Direction Esra Rotthoff Graphic Design Jona Dienst
Production Management Festival René Dombrowski
Production Management Duygu İzdeş, Lucia Leyser, Juliane Prochnow Guest Productions Johanna von Rigal Technical production management Joachim Hering, Laura Krupka
The British artist Delaine Le Bas, who has already participated in previous autumn salons and was featured in the most recent Berlin Biennale, shows a radical change in her practice with her latest works. From Thatcherism to Brexit, Le Bas adopts an intersectional perspective in tracing the way language is constructed by neoliberal politics, while it reproduces existing exclusions and influences collective consciousness. She also invites the cultural sector to a self-critical discourse, because in Europe, it’s only the language about socially and legally disadvantaged minorities, such as the Romani and Sinti peoples, that has changed, while neither the broader society’s view of them nor their socio-economic and legal living conditions have. By sharing her text-based paintings and drawings, her diaries, experiences, thoughts and views on today’s societal unease, Le Bas creates a very personal universe in which critique becomes a matter of collective urgency. Complementary to the show, Le Bas invites co-performers, theoreticians, curators, activists and artists to frame the exhibition in three different recurring formats.
Artistic direction Shermin Langhoff Artistic direction assistance Nele Lindemann based on the exhibition Zigeuner Sauce curated by Christine Eyene in the Yamamoto Keiko Rochaix Gallery in London Installation and scenography Delaine Le Bas & Lincoln Cato Soundinstallation Justin Langlands Co-Performance Hugo Santos Curatorial consultant Gorki Erden Kosova Scenography Gorki Pia Grüter Scenography Assistent Alice Faucher, Inga Aleknaviciute Dramaturgy Gorki Edona Kryeziu Artistic project management Elena Sinanina Production management René Dombrowski Technical direction Joachim Hering
In der Reihe 5. Berliner Herbstsalon gefördert aus Mitteln des Landes Berlin, Senatsverwaltung für Kultur und Europa.
The hard reality of life in Berlin is, at the same time, a wet dream: here the self, lived out freely, constantly encounters alienating labels from the outside, as if being alienated from one’s actual body wasn’t challenging enough. Anyone who, self-confidently estranged from the world, searches for cohesion, will self-evidently be alienated – the never-ending search for security and the question of if it even exists, when escaping from one danger means the next is lying in wait. Alleged and actual safety will be explored in multilingual-speechless and nonverbal ways with performances, dance, parties, theatre, discussions and art exhibitions on queerness in exile and exile in queerness.
Curation Yunus Ersoy Curatorial Collaboration Nele Lindemann Curatorial and Dramaturgy Assistance Ivo Dreger, Louisa Schiedek Production Management René Dombrowski, Lucia Leyser Stage Design Mila Mazić, Marco Michelle Costume Dennis Ennen, Matthijs Holland Technical Stage Design Assistance Katharina Scheicher
In cooperation with Missy Magazin, Siegessäule and Dussmann das KulturKaufhaus. Funded by the State of Berlin, Senate Department for Culture and Europe.
70 events, 14 productions, 1 film, 1 exhibition, 1 installation at 11 venues in Berlin
HAU Hebbel am Ufer (HAU1), Freilichtbühne Weißensee, Gärten der Welt (Arena), Haus der Statistik, KINDL – Zentrum für zeitgenössische Kunst, radialsystem, Lilli-Henoch-Sportplatz, MaHalla, radialsystem, SOPHIENSÆLE, St. Elisabeth-Kirche, Volksbühne am Rosa-Luxemburg-Platz
100+ artists (choreographer, director, dancer, performer) from 20 countries: Argentina, Australia, Austria, Belgium, Brazil, Chile, Finland, France, Germany, Italy, Japan, Mexico, Morocco, Netherlands, Rwanda, Singapore, Sweden, Switzerland, UK
Productions
Ayelen Parolin / RUDA – WEG Radouan Mriziga – Ayur Anne Nguyen / par Terre Dance Company – Underdogs Choy Ka Fai – Postcolonial Spirits James Batchelor and Collaborators – An Evening-length Performance Colette Sadler with Mikko Gaestel – ARK 1 Constanza Macras | DorkyPark – Stages of Crisis Dorothée Munyaneza, Compagnie Kadidi – Mailles Lea Moro – All Our Eyes Believe Thiago Granato – The Sound They Make When No One Listens Milla Koistinen – Breathe Amanda Piña – Frontera | Border – A Living Monument Amanda Piña – Endangered Human Movements Vol. 4, Danza y Frontera Stephanie Thiersch / Brigitta Muntendorf – ARCHIPELAGO – A Spectacle of Blending URBAN FEMINISM – Gotcha! An Evening of 9 short choreographic works Tora Mkandawire Mårtens – Martha & Niki – Film in the frame of URBAN FEMINISM 2021 Choy Ka Fai – CosmicWander: Expedition Chiara Bersani with Ilaria Lemmo – Fionde
Artistic Director Virve Sutinen Executive Producer Festival Stefan Nagel Curator & Producer Andrea Niederbuchner Producer & Assistant to Artistic Director Alina Scheyrer-Lauer Producer& Logistics René Dombrowski Production Monica Ferrari, Florian Greß, Johanna Herrschmann, Mmakgosi Kgabi, Ben Mohai, Charlotte Werner Bibliothek im August & Happy to Listen Ana Letunić (dramaturgical support) Technical Director Festival Ingo Ruggenthaler Technical Producers Annette Becker, Susanne Görres, Sven Nichterlein, Kevin Pahl, Dorothea Spörri, Patrick Tucholski Technical Venue Management Annette Becker, Sven Nichterlein, Kevin Pahl, Max Wegener, Sabine Krien, Rupprecht Lademann PR & Marketing Hendrik von Boxberg / Lilly Schofield (Büro von Boxberg) Online CommunicationLilly Schofield (Büro von Boxberg) Assistance PR & Marketing, Online Communication Vera Fleischer, Vivien Hohnholz Texts Beatrix Joyce Project and Contract Management Natalia Polyzou, Timo Koch Ticketing & Service Christian Haase Management Professionals Alexander Graf Graphic Design Sonja Deffner, Jürgen Fehrmann (Director), Gea Gosse and the team of HAU Hebbel am Ufer
In times of an ecological, political and personal crisis, Brazilian choreographer Thiago Granato explores the act of listening. Three performers delve into conscious listening mechanisms as a way to perceive movements and non-movements, and unravel underlying structures of power and control. In a disorientating spectrum where sound and image sources intermingle, they amplify their sonic and visual sensitivity in order to extend the limits of their own bodies and
the journeys by which they figure themselves together in the world.
Concept, Artistic Direction and Choreography: Thiago Granato Direction Assistance and Co-creation: Sandro Amaral By and with: Arantxa Martinez, Roger Sala Reyner and Thiago Granato Lighting Design: Claes Schwennen Sound Design: David Kiers Sound Design Assistance: Andrea Parolin Dramaturgical Advice: Lisa Stertz Production Management: Sandro Amaral Administration: René Dombrowski Photo: Rafael Medina
Supported by: TanzFabrik Berlin and Teatro Municipal do Porto/ DDD – Festival Dias da Dança.
TANZ is the third part of the trilogy: Recovery, Apollon, TANZ. The trilogy deals with notions of practice through training of different physical disciplines on stage focusing on investigations of how the body is cultivated, shaped and transformed and on the transmission of experience.
TANZ takes early 19th century romantic ballet as a starting point. It uses the frame of a ballet class guided by Beatrice Schoenherr, the first ballerina who danced Le Sacre de Printemps naked (John Neumeier, 1972).
The performers undergo a rigorous training in action ballet, the so called sylphidic studies. Learning how to use their skills in a genre of spectacle that deals with supernatural creatures, they use the articulation of the dancer’s body as a tool to penetrate space in order to gain knowledge about flying.Through techniques of restraint they collectively practice to govern the body and mind. An ephemeral world- provoking an imminent possibility of perfection by transforming the gross into the sublime and making the functional more than functional.
In an operatic set up brutal parodies of established images of excitement found in ballet, comedy and pornography are made in order to be watched from afar and close. This industry of gaze finds its translation in the work of a porn producer who documents the performance from within.With an all-female cast of twenty to eighty years old performers who represent different dance backgrounds, TANZ poses the question what ‘dancing the lineage’ means and how to reconcile with tradition in the territory of the nonverbal and its relationship to beauty.
Credits
Concept/Performance/Choreography Florentina Holzinger Performanceby and with Renée Copraij, Beatrice Cordua, Evelyn Frantti, Lucifire, Annina Machaz, Netti Nüganen, Suzn Pasyon, Laura Stokes, Veronica Thompson, Lydia Darling Video design/Live camera Josefin Arnell Sound design/Live sound Stefan Schneider Light design/Technical director Anne Meeussen Stage design Nikola Knezevic Stage assistant Camilla Smolders Technical assistant Koen Vanneste Dramaturgy Renée Copraij, Sara Ostertag Coaching Ghani Minne, Dave Tusk Music coach Almut Lustig Outside eye Michele Rizzo, Fernando Belfiore Theory and research Anna Leon Costume advisor/tailor Mael Blau Prosthetic and Mask: Students of Wigs, Make-up and Special Make-up Effects for Stage and Screen – Theaterakademie August Everding Munich, Marianne Meinl Stunt support Haeger Stunt & Wireworks Stunt instructors Stunt Cloud GmbH (Leo Plank, Phong Giang, Sandra Barger) Management Something Great (Berlin – DE) & DANSCO (Amsterdam – NL) International distribution Something Great (Berlin – DE) Production Spirit Executive Production Laura Andreß Financial administration Julia Haas/SMART (Vienna – AT)
Co-produced by Tanzquartier Wien (Vienna – AT), Spring Festival (Utrecht – NL), Theatre Rotterdam (Rotterdam – NL), Mousonturm (Frankfurt – DE), Arsenic (Lausanne – CH), Münchner Kammerspiele (Munich – DE), Take Me Somewhere Festival (Glasgow – UK), Beursschouwburg (Brussels, BE) deSingel (Antwerp – BE), Sophiensaele (Berlin – DE), Frascati Productions (Amsterdam -NL), Theater im Pumpenhaus (Muenster – DE), asphalt Festival (Düsseldorf – DE)
Supported by O Espaço do Tempo (PT), Fondation LUMA (FR) and De Châtel Award (NL)
Thanks to CAMPO Gent,ImPulsTanz – Vienna International Dance Festival, Eva Beresin, Stefanie Leitner, Tanz-Archiv MUK Wien, Stimuleringsfonds Creative Industries, Mochi Catering Vienna, Andres Stirn
Funded by the Cultural Department of the City of Vienna, Performing Arts Fund NL
Étude for an Emergency – Composition for Ten Bodies and a Car
A commission by Munich Kammerspiele – World Premiere: 01/03/2020, Münchner Kammerspiele, MUNICH (DE)
With “Étude for an Emergency. Composition for Ten Bodies and a Car”, Florentina Holzinger once again draws attention to the body as a spectacle – and to how it can be trained.
A stunt is an unusual and difficult physical activity that requires special skills and is usually performed for artistic reasons for television, theatre or film. An aria in opera is the equivalent to a stunt in an action film.
With a mixed cast of stuntwomen, opera singers and performers, Holzinger has created a musical study for ten bodies and a car.
The ‘emotional industries’ of both opera and film are dissected with anatomical precision and broken down into their technical aspects alone until nothing remains but the sounds produced by the body.
Florentina Holzinger deliberately pulls and pushes the boundaries between high culture and ‘mere’ entertainment. The result is a brutal parody of sensationalist images that we are familiar with from film, opera, TV and the internet. In a series of joint operatic rituals and orchestrated crash tests, the performers learn to master their bodies and voices and prepare for emergencies.
Credits
Direction Florentina Holzinger with Marie Bloching, Marie Dziomber, Shirin Lilly Eissa, Sibylle Fischer, Maria Helgath, Verena Konietschke, Anni Kumlehn, Annette Paulmann, Julia Rutigliano, Linnea Tullius Stage and Costumes Nikola Knežević Music Stefan Schneider Light Max Kraußmüller Dramaturgy Renée Corpaij, Helena Eckert Stunt Coordination Marc Sieger, Petr Dvorak Music coach Sibylle Fischer Production assistance Friederike Kötter Artistic assistance stage Nicole Marianna Wytyczak Costume assistance Victoria Dietrich A co-production by Spirit ( Vienna – AT), Münchner Kammerspiele (Munich – DE) Management and Distribution Something Great (Berlin – DE)
Recovery
RECOVERY revolves around struggle as a process of healing and the stage as an arena, in which questions of coping with trauma, a fresh start and female support are raised. It all started with Florentina’s accident during a performance of Silk in Norway, when she crashed three meters to the ground. The work Recovery, inspired by this experience and the title of American rapper Eminem’s seventh studio album, is the product of a lengthy recovery period. Florentina aims at transforming herself into a warrior on both a spiritual and a physical level. Now, evening by evening, she enters the ring to defy the art world, fear and trauma. She prepares for every show as if it was a fight. Thus, each instalment of Recovery is characterized by physical healing and starting fresh, by the recovery of what seemed lost and by the recovery of artistic data.
The performance emerges from the conviction that the only art worth being made is art that can heal. Florentina Holzinger is inspired by George Balanchine’s legendary ballet Agon, created in 1957. The work’s title means competition and is considered a highlight of Balanchine’s examination of Igor Stravinsky’s music. Florentina created her own Agon which was shown at festival ImPulsTanz 2014 in Vienna and Recovery is based on that piece.
Concept: Florentina Holzinger Performed by Florentina Holzinger, Btissame Amadour, Clara Saito, Eva Susova, Lenneke Vos, Orinta van der Zee Sound Design: Stefan Schneider Dramaturgy and guidance: Vincent Riebeek, Renée Copraij, Sara Ostertag Production: Frascati Producties (Amsterdam – NL) Coproduction: brut Wien (Vienna – AT) . Management and Distribution: Something Great (Berlin – DE) Funded by Creative Europe, Life Long Burning, die Kulturabteilung der Stadt Wien and the Performing Arts Fund NL.
Co-produced by Centre des arts d’Enghien-les-Bains (FR) and Romaeuropa Festival (IT). With scientific institutional partners Centre National de Recherche Scientifique (CNRS) and Laboratoire de Recherche en Informatique (LRI) at University Paris-Saclay. Supported by PACT Zollverein.
Trailer
Photos
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
Description
“Si sta come / d’autunno / sugli alberi / le foglie” G. Ungaretti
Humane Methods dissects the violence of algorithmic societies, where power structures, knowledge creation and normative criteria become means of remorseless manipulation. Through the physical and psychological brutalization of people and non-human beings, the combination of digital technologies and capitalistic urge has driven the natural ecosystem towards impending destruction.
In a landscape of ruined nature and technological relics, a community of semi-human figures lives a primal and stern existence. An artificial intelligence (AI) algorithm, left to its own devices, feeds on the biodata of the figures’ bodies as it tries to learn a meaningless sequence of numbers. It is a garden out of time, or perhaps, it is a garden within the fold of our times.
Inundating the space is a dogged, hypnotic stream of sound and light: the calculations of the AI turned into perceivable material. Thus, by dictating brightness or darkness, rhythm or stasis, the AI marks out the figures’ lives. It is computational “brute force” hammering the senses.
As in a symbiosis, both the algorithm and the figures are stuck in an ever-changing loop. It counts, they worship, they touch, they sense. It counts, they worship, they touch, they hurt, it counts, they sense, they hate. It counts, they worship, they touch, they sense, it counts, they isolate, they hate, they attack.
In a ritual of self-sacrifice a machinic deity is born in the form of twin prosthetic arms. They are without a body and use their artificial neural networks to seek flesh, dancing with the skin, the muscle and the bones. Will the ritual bring communion or tragedy?
In this community, existence is suspended: a society struggling against its own balance, torn between a moral rejection of violence and its systematic application against human’s kin and the ecosystem. It is a catastrophe out of time, or perhaps, it is a catastrophe of our times.
Cast & Crew
Development – Fronte Vacuo (Donnarumma, Pevere, Familari) Artistic direction, performance – Marco Donnarumma, Margherita Pevere Choreography, dramaturgy, music, machines – Marco Donnarumma Symbionts, biomaterials – Margherita Pevere Costumes – Margherita Pevere, Ana Rajcevic, Marco Donnarumma Scenography – Marco Donnarumma, Margherita Pevere, Andrea Familari Research, interactive learning technologies – Baptiste Caramiaux Light design and stage production – Andrea Familari Premiere ensemble – Joele Anastasi, Cora Gasparotti, Denise Gioia, Beatrice Riccardi, Massimo Sconci, Valentina Squarzoni, Andrea Tufo Robotics and metal visual design – Ana Rajcevic Robotics 3D modeling and engineering – Christian Schmidts Neurorobotics advisor – Neurorobotic Research Laboratory Photography – Manuel Vason Live photography – Piero Tauro, Giada Spera Production and tour management – René Dombrowski Project management – Claudia Dorfmüller
Humane Methods is a production by Fronte Vacuo (Donnarumma, Pevere, Familari).
nora abdel-maksoud
lola arias
ariana battaglia
sibylle berg
can candan
daniel cremer
jeannette ehlers
ender / kolosko
marina frenk
oliver frljić
marta górnicka
suna gürler
arsinée khanjian
marta malikowska
hakan savaş mican
ersan mondtag
orit nahmias
sebastian nübling
vidina popov
falk richter
yael ronen
sasha marianna salzmann
isabella sedlak
sasapin siriwanij
hanh mai thi tran
tine rahel völcker
white on white
sivan ben yishai
EXHIBITION
morehshin allahyari
lola arias
chiara baldini / rafael kozdron
yael bartana
mehtap baydu
luchezar boyadjiev
candice breitz
banu cennetoğlu
danica dakić
silvina der-meguerditchian
lea draeger
atom egoyan
jeannette ehlers
ender / kolosko
regina josé galindo
marta górnicka
anke hannemann *
sanja iveković
alfredo jaar
šejla kamerić
natasha a. kelly
grada kilomba
katarzyna kozyra
damian le bas
delaine le bas
alanna lockward
maría paula maldonado *
hakan savaş mican
donna miranda
henrike naumann
julieta ortiz de latierro *
tanja ostojić
ceylan öztrük
yael peri *
elena quintarelli
oliver ressler
oliver ressler / martin krenn
larissa sansour / søren lind
farzane vaziritabar *
viron erol vert
claire waffel *
ina weise *
* mfa-public art and new artistic strategies der bauhaus-universität weimar
CONFERENCE
bi̇lgi̇n ayata
manuela bojadžijev
ethel brooks
gabriele dietze
fatima el-tayeb
naika foroutan
olubukola gbadegesin
damian ghamlouche
agnieszka graff
seda gürses
michelle higgins
esra karakaya
eren keski̇n
donna miranda
winifred poster
emilia roig
julia roth
birgit sauer
nishant shah
robbie shilliam
gina athena ulysse
YOUNG CURATORS ACADEMY
soukaina aboulaoula
riksa afiaty
mona benyamin
vladimir bjeličić
rafika chawishe
adela demetja
ayli̇me asli demi̇r
fatou kiné diouf
yuan fuca
helia hamedani
martha luisa hernández cadenas
thao ho
huang ding-yun
lyse ishimwe nsengiyumva
liene jurgelāne
rola khayyat
sreyneang khon
olivia hyunsin kim
lee cheah ni
zhazgul madazimova
chepkemboi j. mang’ira
donna miranda
nhung dinh
amila puzić
aya rebai
promona sengupta
uygar önder şi̇mşek
sasapin siriwanij
ida ślęzak
aziz sohail
corrie tan
phoo myat thwe
arkadi zaides
TEAM | PARTNERS
TEAM 4TH BERLINER HERBSTSALON
Organised by Shermin Langhoff with Aljoscha Begrich, Çağla İlk (exhibition) with Erden Kosova, Ong Keng Sen, Irina Szodruch (Young Curators Academy) with Rebecca Ajnwojner (conference) with Elena Sinanina (Team leader and artistic collaboration) Stage Design Shahrzad Rahmani Assistant (Management) Anne Diestelkamp, Young Curators Academy Alexandra Lange, Lynn Takeo Musiol, Therese Nübling Project management Alexa Gräfe Assistants to Project Management René Dombrowski, Natalia Polyzou, Dag Lohde Technical Production Directors Malte Roloff, Georg Scherlin Assistants Stage Design Julia Casabona, Pia Grüter, Inga Aleknaviciute Interior Alissa Kolbusch Asstistants to Production Lucia Leyser, Kristin Buddenberg Direction Assistants Branko Janack, Rico Wagner, Antonia Zeich Internship stage Design Alice Faucher Production Management Studio Я and Lichtsaal Monica Marotta Technical Director Joachim Hering Press collaboration Denhart von Harling Social Media Jo Preußler Development Website Michael Boeker, Caroline Haufe, Jo Preußler Online Communications Caroline Haufe Translation English Website Summer Banks Graphic Design María José Aquilanti, Ann Christin Sievers, Lena Wessel
TEAM DE-HEIMATIZE BELONGING CONFERENCE
Organisation Rebecca Ajnwojner Assistant Maike Müller Internship Mariette Minnemann Production Management Kübra Karataş Technical Production (Humboldt-Universität zu Berlin) Detlef Damis Video documentation & Camera Patrícia Bateira Live- Stream (Humboldt-Universität zu Berlin) Jörg Schulze, Tobias Rüst
TEAM YOUNG CURATORS ACADEMY
Hosts Irina Szodruch, Ong Keng Sen, Erden Kosova Assistant Therese Nübling Production Management Kübra Karataş Video documentation & Camera Patrícia Bateira Internship Rosa Langhoff
Maxim Gorki Theatre
Direction Shermin Langhoff (Artistic Director), Marcel Klett (Executive Director) Head of Communications & PR Anna Bause Head Press Xenia Sircar Head of box office and sales Markus Bäuerle Artistic Operating Director Christine Leyerle Head of Supernumerary Kathi Bonjour Management Stage Design Alissa Kolbusch Project Management Studio Я Monica Marotta Head of Gorki X Janka Panskus Technical Director Thomas Kirsten (Technischer Direktor), Joachim Hering (Stellvertreter) Management Stage Technology Robert Rammelt Management Lighting Pierre Stolper Management Sound Christopher von Nathusius Management Props Jens Gebhardt Management Mask Paula Karer Management Dressing Service Andrea Schulz Head of Evening Service Peter Hanslik, Jana Radünz Management Administration Sabine Gehrke Management House Inspection Edgar Schönberg IT Management Stefan Heinemann Management Theatre Workshops Marcus Trettau Assistant Theatre Workshops Amos-Peter Mayer Head of Carpenters Burkhard Rauch Management Painting Petra Olbrich Head of Theatrical Plastic Claudia Vogel Management Locksmithery Mayk Reimann Management Decoration Egbert Haase Management Costumes Thomas Maché Wardrobe mistresses Silke Adolf, Simone Schmunz
PARTNERS
The 4. Berliner Herbstsalon is funded by:
The Young Curators Academy is funded by:
The De-Heimatize Belonging conference is organised in cooperation with:
Die De-Heimatize Belonging Konferenz ist ein Projekt des Maxim Gorki Theaters mit der Humboldt Unversität zu Berlin / Berliner Institut für empirische Integrations- und Migrationsforschung im Rahmen des 4. Berliner Herbstsalons in Kooperation mit dem Centre for Intersectional Justice gefördert von der Bundeszentrale für Politische Bildung.
Individual projects featured in the exhibition in cooperation with:
Thanks to:
Badischer Kunstverein, Stéphane Bauer, René Block, Anja Bogojević, Patrick Ebensperger, Eidotech, Jörg Frieß, GeierTronic Videotechnik, Damian Ghamlouche, Sebastian Hoffmann, Nataša Ilić, Initiative Haus der Statistik, Moses Leo, Anja Lindner, ngbk – neue Gesellschaft für Bildende Kunst e. V., Ong Kengsen, Erden Kosova, PraterSound, Danny Pratsch, Amila Puzić, Jirka Reichmann, RGpro, SCOTTY Projektraum für zeitgenössische Kunst und experimentelle Medien e. V., Raimar Stange, Bildmuseet Umeå, Antje Weitzel, Misal Adnan Yıldız, Didem Yazici, Claudia Zini.
” Hallo!” is a performance about not hearing and not being heard. It was created in the aftermath of the “Gezi” protests – the name of a park in Beyoğlu district of Istanbul, which was to be demolished by the Turkish government, upon which an unorganized civil society protest wave took over for a period of time starting May 28th 2013.
Hallo! is a political statement reflecting on the protests and how they were perceived by various factions. It is a two-part performance. In the first part it puts the audience in the center along with the performer Gizem Aksu. Hearing, listening yet being helpless and disconnected. Every performance creates a one time, never to be repeated piece changing with the audience. In the second part, where the audience has the chance to voice their feelings and thoughts about the performance, people reveal how they relate to the piece and also how it relates to their lives.
This work is also a result of a hopeless and helpless time after “Gezi” for Aydın Teker. At a time when she started thinking that “nothing she ever did had a meaning”, Teker realized that people were talking but not really listening. This helpless moment of not being heard moved her to choreograph this performance. One can observe the audience and how the feeling of “not being heard” affects them as the performance progresses.
A pioneer of contemporary dance in Turkey who has worked in Istanbul for over twenty-five years, Aydin Teker likes putting bodies into destabilising situations, testing their capacity for dynamic adaptation to the extreme. She graduated from Ankara State Conservatory in 1973 and joined Ankara State Opera and Ballet as a dancer. Thanks to a scholarship in 1976, she moved to London and then to the USA. She received her B.F.A. and M.F.A. from New York University’s Tisch School of the Arts. Her works have been shown in many countries and renowned festivals including the Zürcher Theater Spektakel (Zürich – CH), KunstenfestivaldesArts (Brussels – BE), Festival TransAmériques (Montreal – CA), among others.
Co-produced by STUK Kunstencentrum Leuven, CND – Centre National de la Danse Pantin, Tanz im August / HAU Hebbel am Ufer Berlin, PACT Zollverein Essen.
Funded by Senate Department for Culture and Europe.
Supported by: ÉTAPE DANSE, initiated by the Institut Francais Deutschland / Bureau du Théâtre et de la Danse, Uzès Danse CDCN, Théâtre Nîmes and fabrik Potsdam funded by Ministère de la Culture et de la Communication/DGCA and the city of Potsdam; BUDA Arts Centre Kortrijk, Tanzfabrik Berlin.
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Eine Produktion von Thiago Granato.
Ko-produziert von: STUK Kunstencentrum Leuven, CND – Centre National de la Danse Pantin, Tanz im August / HAU Hebbel am Ufer Berlin, PACT Zollverein Essen, unterstützt von fabrik Potsdam, Théâtre de Nîmes – Scène conventionnée pour la danse contemporaine Nîmes, Centre de Développement Chorégraphique Uzès.
Gefördert von: Senatsverwaltung für Kultur und Europa des Landes Berlin.
Unterstützt von: ÉTAPE DANSE, eine Initiative des Institut français Deutschland / Bureau du Théatre et de la Danse und der fabrik Potsdam, gefördert durch das französische Ministerium für Kultur und Kommunikation / DGCA und der Landeshauptstadt Potsdam, BUDA Arts Centre Kortrijk, Tanzfabrik Berlin.
DESCRIPTION / BESCHREIBUNG
“Trrr” locates the past in front of the body and the future behind it. It is a zone where archaic entities never seen or heard before can be manifested. It inscribes a dance in the margins of time by a body moving both forward and backward into uncharted or forgotten territory. “Trrr” is the third and last part of a larger body of work entitled “CHOREOVERSATIONS,” a project based on different imaginary collaborations between Thiago Granato and dead, living and as yet unborn choreographers.
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“Trrr” lokalisiert die Vergangenheit vor dem Körper und die Zukunft hinter ihm. Es ist eine Zone, in der sich bislang unbekannte archaische Wesen manifestieren können. Ein Körper, der sich zugleich vorwärts und rückwärts bewegt, schreibt einen Tanz in die Ränder der Zeit ein, in nicht kartiertes oder vergessenes Terrain. “Trrr” ist der letzte Teil der Trilogie “CHOREOVERSATIONS”, ein Projekt des Choreografen Thiago Granato. Es basiert auf verschiedenen imaginären Kollaborationen zwischen Granato und toten, lebenden sowie noch ungeborenen Choreografen.
TRAILER
DATES / TERMINE
Sa. 11.08 // 19:00 // HAU3
So. 12.08 // 17:00 // HAU3
Mo. 13.08 // 21:00 // HAU3
Di. 14.08 // 19:00 // HAU3
CAST & CREW
Concept, Direction, Choreography, Performance: Thiago Granato ‘Invited’ Choreographers: “Stone” and “Jaguar” Direction Assistance: Sandro Amaral Interlocution: Jefta van Dinther, Daniela Visco Sound Design: David Kiers Lighting Design: Susana Alonso Dramaturgical Advice: Laura Samy Production: Sandro Amaral, Thiago Granato Financial Administration: René Dombrowski with www.penkiito.com
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Konzept, Leitung, Choreografie, Performance: Thiago Granato ‘Eingeladene’ Choreografen (fiktive Gesprächspartner): “Stone” und “Jaguar” Assistenz der Leitung: Sandro Amaral Dialog: Jefta van Dinther, Daniela Visco Sound: David Kiers Licht: Susana Alonso Beratung Dramaturgie: Laura Samy Produktion: Sandro Amaral, Thiago Granato Finanzen & Administration: René Dombrowski mit www.penkiito.com
Each era has its wonders of the world, the idea of an impossibility that is nevertheless constructed, bigger and more impressive that anything the world has known. These architectural and artistic tours de force mark the victory of man over his physical limits and the laws of nature. But isn’t the human body that has devised and made these imposing wonders even more wondrous? Isn’t it more mysterious and more beautiful than the giants we are surrounding ourselves by? How does the body behave to the gigantic architectures of our environment and how would they change when we start to think from the body again? Once again, the relationship between dance, construction and architecture is at the heart of Radoaun Mriziga’s work. In a precise and refined choreography, in this piece Radouan Mriziga confronts the beauty of the moving body with the geometric power of architecture and sculpture. 7 heads off on a quest for the world’s ultimate miracle: the human body.
CREDITS
Concept / Choreography: Radouan Mriziga
Co-created and performed by: Radouan Mriziga, Maïté Jeannolin, Zoltán Vakulya, Bruno Freire, Eleni-Ellada Damianou, Lana Schneider, Suhad Najm Abdullah
Visual artist: Lana Schneider
Musician: Suhad Najm Abdullah
Costume: Annabelle Locks Dramaturgical advice: Esther Severi Artistic advice: Alina Bilokon Image: Maïté Álvarez Assistant: Sara Chéu Thanks to: Jozef Wouters
Production: Moussem Nomadic Arts Center (Brussels – BE)
Co-production Kaaitheater (Brussels – BE), Kunstenfestivaldesarts (Brussels- BE), Sharjah Art Foundation (Sharjah – UAE), C-Mine cultuurcentrum Genk (Genk – BE), Vooruit (Ghent – BE), PACT Zollverein (Essen – DE) In the context of European Network DNA (Departures and Arrivals) co-funded by the Creative Europe Program of the European Union In collaboration with: Kunstenwerkplaats Pianofabriek (Brussels – BE), Charleroi Danses Centre Chorégraphique de la Fédération Wallonie-Bruxelles (Charleroi – BE), STUK – House for Dance, Image & Sound (Leuven – BE)
Tour Dates
22. + 23.09.2018 7 by Radouan Mriziga , Lafayette Anticipations as part of the program Echelle Humaine / Festival d’Automne à Paris , PARIS (FR)25. + 26.05.2018 7 by Radouan Mriziga, Alkantara Festival 2018 – Teatro Municipal Sao Luiz, LISBON (PT)28.04.2018 7 by Radouan Mriziga at PACT Zollverein (Performing Arts Choreographisches Zentrum NRW), ESSEN (DE)
“55” by Radouan Mriziga
an architectural form playing with expectations
’55’ is the first creation by choreographer and dancer Radouan Mriziga, and the first part of a trilogy produced by Moussem Nomadic Arts Centre, in which he examines the relationship between dance and architecture and portrayes man as a balancing act between mind, body and spirit. The second part of the trilogy ‘3600’ was created in 2016. The third part ‘7’ premiered at the Kunstenfestivaldesarts in 2017. Since then.
What makes 55 so unique is Mriziga’s specific dance language: a confrontation between corporeality and strict concepts, and between the sensual and the rational. Using his own body as a measure, he creates an architectural form. For him, dance or movement is a way of achieving something different. Slowly and securely, he sets to work, subtly playing with your expectations. In this piece, his background and various different influences come together to create a fascinating hybrid.
Credits
Concept and performance: Radouan Mriziga Assistance: Alina Bilokon Acknowledgements: Moussem team, Alina Bilokon, Youness Khoukhou, Bart Meuleman, Steven De Belder
Production: Moussem Nomadic Arts Centre (Brussels-BE)
Co-production C-mine (Genk – BE), WP Zimmer (Antwerp – BE) In collaboration with Cultuurcentrum Berchem (Berchem – BE), Pianofabriek (Saint-Gilles – BE), O Espaço do Tempo (Montemor-o-Novo – PT), STUK – House for Dance, Image and Sound (Leuven – BE)
Tour Dates
25.09.2018 55 by Radouan Mriziga, Città delle 100 scale festival, POTENZA (IT)07.09.2018 55 by Radouan Mriziga, Festival Danza Urbana, BOLOGNA (IT)24.06.2018 55 by Radouan Mriziga, Fête de la Musique à Genève / ADC- Association pour la Danse Contemporaine, GENEVA (CH)21. + 22.06.2018 55 by Radouan Mriziga, Armunia / Inequilibrio – Festival di teatro e danza contemporanea,CASTIGLIONCELLO (IT)29.03.2018 55 by Radouan Mriziga, Museo civico di Palazzo Chiericati – Musei Civici Vicenza, VICENZA (IT)
A coproduction by Tilman Hecker, RADIALSYSTEM V and Mozartsummer Mannheim. Funded by Capital Cultural Fund, Berlin. With the friendly support of Watermill Center New York.
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Eine Koproduktion von Tilman Hecker, RADIALSYSTEM V und dem Mannheimer Mozartsommer. Gefördert aus Mitteln des Hauptstadtkulturfonds. Mit freundlicher Unterstützung des Watermill Centers New York.
DESCRIPTION / BESCHREIBUNG
How can music be made to be visible? In the performance MIDNIGHT, using a combination of sound art, dance theater and experimental musical theater Lynsey Peisinger and Tilman Hecker visualize four pieces by W.A. Mozart on stage. Mozart’s music will not be heard, but rather seen: musical elements will be replaced by the movements of the performers, as well as, the use of video and lights, meanwhile a complete soundscape will accompany the course of the performance and will reflect the structural precepts of the musical score.
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Wie lässt sich Musik sichtbar machen? In der Performance “MIDNIGHT” visualisieren Lynsey Peisinger und Tilman Hecker in einer Kombination aus Klangkunst, Tanztheater und experimentellem Musiktheater das letzte Klavierkonzert, zwei Konzertarien und ein Lied von Wolfgang Amadeus Mozart. Dafür nähern sie sich den Partituren der Werke und nutzen deren kompositorischen Strukturen als Grundlage für das Geschehen auf der Bühne. Mozarts Musik wird nicht zu hören, sondern zu sehen sein: Streicher, Bläser, Klavier und Gesang werden durch theatrale Elemente – Licht, Video und drei Performer – ersetzt. Die Melodien verschwinden, doch das kompositorische Timing bleibt. Ein Soundscape des Komponisten Arno Kraehahn begleitet den Verlauf der Performance und spiegelt die strukturellen Vorgaben der Partituren. Die rückwärts laufende Projektion der von oben gefilmten Performance, das Spiel mit Gleichzeitigkeit, Pausen, Verschiebungen, sowie das Spiel der Performer mit ihrer eigenen Projektion, erschaffen eine optische Struktur, die Auskunft gibt über zeitgenössische Subjektivität und zugleich einen vollkommen neuen Blick auf Mozarts Kompositionen ermöglicht.
TRAILER & FOTOS
(C) Lucie Jansch
DATES // DATEN
Tour: 2018 – Festival Otkrovenie, Kazakh State Academic Drama Theater named after M. O. Auezov, Almaty, Kazakhstan
14 / 15.02.2018 – Kazakh State Academic Drama Theater named after M. O. Auezov
Tour: 2017 – Alexandrinsky Theatre, St. Petersburg, Russia
23.07.2016 – 20h00 – Nationaltheater Mannheim – Originalversion sowie Orchesterversion mit Erik Nielsen (Musikalische Leitung und Klavier), Iride Martinez (Sopran) und dem freien Orchester M18
Premiere: 2016 – Radialsystem V, Berlin
06.03.2016 – 17h00 // weitere Aufführungen: 06.03.2016 – 20h00 & 07.03.2016 – 20h00 // Radialsystem V, Berlin
CAST & CREW
Director // Regie: Tilman Hecker Choreography and Performance // Choreographie und Performance: Lynsey Peisinger Composition // Komposition: Arno Kraehahn Performance: Ivan Cheng und Frank Willens Dramaturgy // Dramaturgie: Dag Lohde Costumes // Kostüm: Julia von Leliwa Light // Licht: Scott Bolman Video // Video: Thilo Schmidt Make-Up: Manu Halligan Director’s Assistant // Regie-Assistenz: Sophie Beck Postproduction: ARRI Mitte Press // Presse: k3 berlin Production Management // Produktionsleitung: ehrliche arbeit – freies Kulturbüro Tour Management: René Dombrowski
Something Great is an international Performing Arts management office with headquarters in Berlin – Germany.
Our mission is as simple as complex. We want artists to tour more.
We are specialized in international distribution and promotion of contemporary creations in the field of dance, theater, music, performance and cross-disciplinary art projects.
Throughout the year we manage and promote the international touring activity of selected artists that we strongly believe in and support. The current artist portfolio can be seen here: Something Great
We also manage and promote specific projects by other artists and art organisations within defined goals and timelines.
Im Maxim Gorki Theater, Kronprinzenpalais, Palais Am Festungsgraben, Stadtraum
11–26 November 2017
Presse:
»Er hat sich längst zum wichtigsten Festival für politische Kunst in Deutschland gemausert. Der ‘Berliner Herbstsalon’ zeigt unter dem Motto ‘Desintegriert euch’ im Maxim Gorki Theater Arbeiten von rund 100 Künstlern, die sich gegen dumpfen Rechtspopulismus und religiösen Fundamentalismus engagieren. Und die sensibel und intelligent einstehen für Toleranz und Diversität.« (www.art-magazin.de)
»Die ganze Schau über Diversität ist eine Erzählung aus Kunst und Leben. Man hat Mut zum Theatralischen, zum Emotionalen und verzichtet auf die im globalen Kunstbetrieb übliche Coolness und elitäre Arroganz. Mit größter Deutlichkeit ist diese kleine ‘documenta’ aus der Welt der Bühnenkunst hinausgetreten. ‘Desintegriert Euch!’ heißt es manifest.« (www.berliner-zeitung.de)
»’Monument’ is a part of the Berliner Herbstsalon festival, which features work by about 100 artists around the German capital. The organizers call the festival a ‘rebellion against attributions, generalizations and simplifications.’« (www.nytimes.com)
»Und Biennale-Stärke hat der Salon nicht zuletzt […] dank seiner ›Tiptop-Künstlerliste‹.« (www.nachtkritik.de)
Der 3. Berliner Herbstsalon (www.berliner-herbstsalon.de) wird vom 11. bis 26. November eine öffentliche Probe für das Aufbegehren gegen Zuschreibungen, Verallgemeinerungen und Vereinfachungen sein. DESINTEGRIERT EUCH! ist die Überschrift über einem Parcours, der rund 100 bildende und darstellende Künstler*innen zu einer Probe in Widerständigkeit gegen vermeintliche Übersichtlichkeit zusammenbringt.
Mit Arbeiten von:
Nora Al-Badri/Nikolai Nelles // Not A Single Bone, 2017, Installation
Die Anti-Humboldt Box // Die Anti-Humboldt Box, 2013, Installation
Birgit Auf der Lauer/Caspar Pauli/Aufbruch Neukölln e.V. // Workshop
Anestis Azas/Prodromos Tsinikoris // Clean City, Theaterstück, 2016
Nidaa Badwan // 100 Tage Einsamkeit, 2013, Fotografien
bankleer // Diverse in the Universe, 2017, Sculptural Performance
MFA-Public Art and New Artistic Strategies der Bauhaus-Universität Weimar
Sebastian Baumgarten // Ferngespräch, 2017, Soundinstallation
Mirko Borscht/Volkan T. // DeathIntegration, 2017, Durational Performance
Luchezar Boyadjiev // On Vacation: Friedrich the Great from Berlin, 2004, Fotografie
Banu Cennetoğlu // The List, 2017, In Kooperation mit UNITED for Intercultural Action, vertrieben als eine Beilage der Berliner Ausgabe des Tagesspiegels am 09.November 2017 und als eine Plakatkampagne an 48 Orten.
Chto Delat // БИБЛИОТЕКА АКТИВИСТКИ / Klub der Aktivistin, 2017, Objekt
Danica Dakić // First Shot, 2008, Videoinstallation
Ender/Kolosko // THEATER OHNE GRENZEN / FELDLAGER BABEL-STADT, 2017, Installation und Interventionen
Cevdet Erek // Improvisation, 2017, Performance
Azin Feizabadi // ICH BIN DEUTSCHER, 2017, Installation
Nina Fischer/Maroan el Sani und Bertold Stallmach // Concrete Castle and Identity’s Rule of Three, 2014, Skulptur and 2016, Video (in collaboration with Bertold Stallmach)
*foundationClass der Weissensee Kunsthochschule Berlin // TRUST US, 2017, Installation (4-Kanal, HD, Video, Audio)
Aimée García Marrero // Rewind, 2014-2017, Videoinstallation
Marta Górnicka // KONSTYTUCJA NA CHÓR POLAKÓW, 2016, Video
Delaine Le Bas/Damian Le Bas // Safe European Home?, 2011, Installation & Romani History X, 2017, Zeichnungen & Romani Embassy, Delaine Le Bas, Performance
Selma Selman // I pissed on your land, 2017, Fotografien & Selma Selman: You have no idea, 2016, Video und Performance, You have no idea, 2016, Video und Performance
Santiago Sierra // Europe Long Play, 2009, Soundinstallation & Conceptual Monument, 2012, Installation
León Siewert-Langhoff // Das Giraffenproblem, 2017, Lecture Performance
White on White // White on White #FUCKME ! (we didn’t make it), 2017, Performance
Zentrum für politische Schönheit
Tobias Zielony // Alles, 1997 – 2005, Fotografien
Team 3. Berliner Herbstsalon
Kuratorium Shermin Langhoff mit Aljoscha Begrich, Çağla İlk, Erden Kosova, Tunçay Kulaoğlu, Elena Sinanina Assistenz Olga Hohmann, Leonie Huber Leitung Dramaturgie 3. Berliner Herbstsalon Aljoscha Begrich Produktionsleitung Alexa Gräfe Assistenz Produktionsleitung René Dombrowski, Dag Lohde Leitung Ausstattung Shahrzad Rahmani Ausstattungsassistenz Katharina Scheicher, Luisa Puschendorf Regie- und Produktionsassistenz Yannick Geske Regieassistenz Isabella Sedlak, Léon Siewert-Langhoff, Ariana Battaglia, Lola Fonsèque Hospitant Burak Safa Çalış
Technischer Direktor Thomas Kirsten Assistenz Technischer Direktor Joachim Hering Technische Produktionsleitung Robert Rammelt Technische Produktionsleitung Bildende Kunst Claudia Dorfmüller Bühnentechnik des Maxim Gorki Theaters | Werkstattleitung Marcus Trettau Assistenz Werkstattleitung Peter Mayer Leitung Kostümabteilung Thomas Maché Kostümassistenz Julia Denzel, Ann Kurz Leitung Beleuchtung Pierre Stolper Mitarbeiter Beleuchtung Jens Krüger, Hans Fründt, Jan Langebartels Leitung Ton und Video Christopher von Nathusius Bereichsleitung Video Jesse Kracht Leitung Requisite Jens Gebhardt Leitung Maske Paula Karer Leitung Ankleide Andrea Schulz Leitung Presse Xenia Sircar Pressemitarbeit Mona Intemann, Ida Steffen Leitung Kommunikation Anna Bause Online-Kommunikation Patrick Kennedy Social Media Jo Preußler Entwicklung Internetauftritt Matthias Hübner, Patrick Kennedy, Jo Preußler Übersetzung engl. Webseite Summer Banks Fotografie Ute Langkafel, Lutz Knospe, Esra Rotthoff Leitung Abenddienst Peter Hanslik, Jana Radünz Leitung Verwaltung Sabine Gehrke Leitung Hausinspektion Edgar Schönberg IT-Management Stefan Heinemann Redaktion Sonderheft Aljoscha Begrich, Ludwig Haugk, Leonie Huber, Xenia Sircar Grafik Design María José Aquilanti, Amelie Strothmann, Julia Marquardt
Partner
Der 3. Berliner Herbstsalon wird gefördert von:
Einzelne Projekte werden unterstützt durch:
Das Sonderprojekt des Zentrum für Politische Schönheit im Rahmen des 3. Berliner Herbstsalon wird gefördert von:
CONSTANZA MACRAS | DORKYPARK wurde 2003 von Constanza Macras und Carmen Mehnert gegründet. Die Company arbeitet in wechselnden Besetzungen mit verschiedenen internationalen Tänzern, Schauspielern und Musikern zusammen und kombiniert in ihren Stücken Text, Live Musik, Tanz und Video.
Die Company tourte mit verschiedenen Stücken u.a. in Korea, Japan, Indien, Indonesien, Argentinien, Brasilien, Chile, Kolumbien, Südafrika, den USA und wurde zu vielen verschiedenen europäischen Festivals, wie z.B. dem Festival d’Avignon in Frankreich oder dem Aarhus Festival in Dänemark eingeladen.
DorkyPark wird u.a. durch den Hauptstadtkulturfonds und der Bundeskulturstiftung unterstützt und arbeitet regelmäßig mit Berliner Theatern wie etwa dem Hebbel am Ufer oder der Schaubühne am Lehniner Platz zusammen.
Das Aufgabenfeld umfasste von 2013 – 2017 die Leitung des KBB sowie Mitwirkung in der Produktionsleitung für folgende Projekte:
A production by CONSTANZA MACRAS / Dorkypark and HELLERAU – European Center for the Arts Dresden. Funded by the German Federal Cultural Foundation through the Doppelpass-program.
DESCRIPTION
“We are contained in nothing and photography assembles fragments around a nothing. When Grandmother stood in front of the lens she was present for one second in the spatial continuum that presented itself to the lens. But it was this aspect and not the grandmother that was eternalised.” Siegfried Kracauer “On Photography”
The ALBUM deals with memory in relationship with the photographic image and self representation. Constanza Macras’ new creation ALBUM tracks down memories of the time when the analogue world entered the digital age. From a nascent MTV and videoclip choreographies to today’s self-made YouTube generation compulsively hunting for the perfect self-portrait. How do we portray ourselves in front of a camera? What surroundings do we choose; what references do we make, or not? What do the portrayal, the pose tell us? Who is watching whom?
“Since what is significant is not reducible to either merely spatial or
merely temporal terms, memory-images are at odds with photographic representation. From the latter’s perspective, memory-images appear to be fragments but only because photography does not encompass the meaning to which they refer and in relation to which they cease to be fragments. Similarly, from the perspective of memory, photography appearsas a jumble that consists partly of garbage.” Siegfried Krakauer “On Photography”
Director / Choreography: Constanza Macras Music / Composition: Robert Lippok (raster noton) Dramaturgy: Carmen Mehnert
By and with: Emil Bordás, Luc Guiol, Hyoung-Min Kim, Nile Koetting, Johanna Lemke, Mandla Mathonsi, Ana Mondini, Felix Saalmann, Miki Shoji, Mohamed Akkouch (dance trainee) Musician: Robert Lippok, Felix Karpf
Modells: Annabel Schmieder, Marco Tabor, Ronny Welzel
Performing guests: Ana Mercy Alonso, Anne Hoschke, Antonia Gersch, Christiane Wacker, Christoph Grabe, Cristina Allés Dopico, Elena González Santorio, Gene Hünniger, Isabella Arboleda, Jacqueline Krell, Jan Böttcher, Joachim Lattke, Lorena Utrera, Magdalena Weniger, Miren Munoz, Oskar Staudinger, Serai Balmann, Solveig Meister, Tania Giovo, Tania Sternberg, Therese Bendjus
Kitchen by: Hoa Cáp, Kong Minh Cáp
Light: Falk Dittrich (Sergio Pessanha) Sound: Stephan Wöhrmann Sound / Video Assistant: Nikola Frenking Stage: Laura Gamberg, Chika Takabayashi, Veronica Wüst Stage Manager: Welko Funke Costume: Daphna Munz & Constanza Macras Costume Assistant: Maren Langer Technicians Hellerau: Kai Kaden, Helge Petzold, Sebastian Beyer, Henryk Bastian Assistant Director: Nikoletta Fischer Direction Trainees: Sophie Ketteniß, Albrecht Schroeder
Production Management: Katharina Wallisch Production Office: René Dombrowski Production Assistant: Magda Zielinska Distribution and International Relations: Rui Silveira Tour Management: Laura Nicolas Administration / CEO: Susanne Kern Projectcoordination Doppelpass: Anne-Katrin Schmidt / Katharina Wallisch
The Almost Nearly Perfect is a part of GIBCA Extended, part of Göteborg International Biennial for Contemporary Art.
DESCRIPTION
11 shades of Jante. Two choreographers interpret The Jante Law and the theme of the dance season: All together now / A common sense
Constanza Macras from Buenos Aires is an award-winning choreographer whose style is raw, physical theatre. In her works, she unites artists and ideas from all over the world around topics such as consumption, identity, migration, segregation and cultural clashes. Constanza Macras is the resident choreographer at the legendary theatre Schaubühne in Berlin. Her production Hell on Earth opened the 2010 Göteborgs Dans & Teater Festival at The Göteborg Opera.
Spanish Marina Mascarell is our next choreographer. Her works are poetic, political, intimate and socially political. After a dancing career which has included NDT 1 and 2 and Cedar Lake in New York, she now works as an international choreographer. By not staying too long in any one place, she has created her own style without being overly influenced by other artists. Her works are available at companies such as Scapino and Geneva Ballet and in the spring of 2015 also at Skåne’s Dance Theatre. Marina Mascarell is also active as resident choreographer at Korzo Theater Productions in The Hague.
These two womens’ expressions are very different from each other, but both are community-driven and interested in the tension between the individual and the collective. Musicians with specially written music will participate in both works.
THE JANTE LAW
The cultural term The Jante Law first appeared in Danish-Norwegian author Aksel Sandemose’s book A Fugitive Crosses His Tracks (1933). The law consists of ten rules which, characterized by village mentality, sums up the mechanisms of envy and jealousy:
01 You’re not to think you are anything special.
02 You’re not to think you are as good as we are.
03 You’re not to think you are smarter than we are.
04 You’re not to convince yourself that you are better than we are.
05 You’re not to think you know more than we do.
06 You’re not to think you are more important than we are.
07 You’re not to think you are good at anything.
08 You’re not to laugh at us.
09 You’re not to think anyone cares about you.
10 You’re not to think you can teach us anything.
The Jante Law also has a eleventh rule, called ”the penal code of Jante”:
11 Perhaps you don’t think we know a few things about you?
PHOTOS
All photos (C) Mats Bäcker
DATES
October 2015
Sat 17/10 – Thu 22/10 – Sun 25/10 – Tue 27/10
November 2015
Sat 7/11 – Sun 8/11 – Wed 11/11 – Sat 14/11 – Fri 20/11 – Sun 22/11 – Thu 26/11
December 2015
Wed 2/12
CAST & CREW
Choreographer: Constanza Macras Composer and performing musician: Almut Lustig Dramaturge: Tamara Saphir Set design: graa hverdag as/Kristin Torp Costume design: Daphna Munz Lighting design: Sérgio Pessanha Video design: Manuel Osterholt
Singer, Actor and Performer: Crista Alfaiate Percussionist: Mattias Breitlow Choreography assistant: Nikoletta Fisher
From / with Dancers: Jenna Fakhoury, Therese Fredriksson, Mai Lisa Guinoo, Janine Koertge, Maria Chiara Mezzadri, Satoko Takahashi, Ingeborg Zackariassen, Jim De Block, Simone Deriu, Takuya Fujisawa, Pascal Marty, Michael Munoz, Jonathan Savage, Ján Špoták, Oleg Stepanov
Production Management: Göteborgs Opera Production Management DorkyPark Berlin: Katharina Wallisch Production Office DorkyPark Berlin: René Dombrowski
A production by Constanza Macras | Dorkypark and Goethe-Institut China.
In co-production with Tanz im August, Schaubühne am Lehniner Platz and CSS Teatro stabile di innovazione del FVG, Udine and Guangdong Dance Festival. Funded by Capital Cultural Fund, Berlin – Governing Mayor of Berlin – Department for Cultural Affairs. Supported by the Berlin Senate Cultural Affairs Department and with the friendly support of The Garden Hotel.
TRAILER
DESCRIPTION
“The hard life began the day I retired, I have no flat, no job and no regular income” says the Chinese acrobat Cheng Fei, seven-times national champion and world champion. “The flowers, the applause, the flags – it feels like a different life“. On the scraphead by their mid-twenties, on their own, with no social security, often lacking formal education and job prospects in THE GHOSTS Constanza Macras worked with Chinese acrobats and circus performers. It looks like these artists, who once won fame and fortune for their country with their bodily discipline, have been forgotten and “decommissioned” by Chinese society, even though many of them are still quite young. They recall the “hungry ghosts” – according to Chinese popular mythology, lost souls who have been forgotten by their descendants and lead a miserable existence in an intermediate world. For Macras these artists’ materially precarious, ghostly condition is a metaphor for life in contemporary China, with its contradictions, social injustice and power structures. Those who once brought the country glory and honor are discarded as soon as they are no longer top achievers. “THE GHOSTS”, like the Chinese Ghost Festival in July, allows them a temporary return to the land of living, making their art and their stories visible once again.
PHOTOS
PREMIERE
3rd and 4th September 2015 during Tanz im August.
Additional shows 5th,7th and 8th September 2015 at Schaubühne, Berlin.
CAST & CREW
Director & Choreographer: Constanza Macras Dramaturgy: Carmen Mehnert
By and with: Emil Bordas, Fernanda Farah, Daisy Phillips, Yi Liu, Juliana Neves, Huanhuan Zhang, Huimin Zhang, Xiaorui Pan, Lu Ge, Chico Mello, Wu Wei, Jiannan Chen.
Music: Chico Mello in collaboration with Wu Wei, Jiannan Chen, Fernanda Farah and Yi Liu
Lighting Design: Sergio de Carvalho Pessanha Sound: Stephan Wöhrmann Video & Photodesign: Manuel Osterholt Set Design: Janina Audick Set Design Assistant: Veronica Wüst Costume Design: Allie Saunders Assistant Director: Nikoletta Fischer
Trainees: Alba Duno, Ariella Karatolou, Chin Kuo, Paul Rabe, Ottavia Tröster, Roberta Petit, Sina Manthey Translation: Chao Liu, Maureen Luo Yuebing
Production Manager: Katharina Wallisch Production Office: René Dombrowski Production Intern: Magda Zielinska Production Management (China): Xiao Yu Production Assistant (China): Chao Liu International Relations + Distribution: Rui Silveira Tour Manager: Ricardo Frayha
A production by Constanza Macras / Dorkypark in collaboration with Ayana V Jackson. A co-production with Dance Umbrella South Africa. Funded by Kulturstiftung des Bundes and Senatskanzlei für Kulturelle Angelegenheiten – der Regierende Bürgermeister Berlin and with friendly support of Rudolf Augstein Stiftung, Goethe Institut Südafrika, Dance Forum Johannesburg and Momo Gallery.
DESCRIPTION
On Fire, a new piece by Constanza Macras, deals with the re-evaluation of heritage and tradition in relation to segregated cultural groups, which are being articulated in new ways in urban life – and with self-defined contemporary practices and rituals. The piece wishes to reflect on postcolonial / post – apartheid ongoing power struggles and the artistic deconstructions of colonial / patriarchal imageries of “the other“. Macras works with a mixed cast of South African and Berlin-based performers in collaboration with the Johannesburg-based artist Ayana V. Jackson, whose photography interrogates and deconstructs other aspects of a specific chapter that we might add to the history of “invented traditions”: the visual representation of the “other” in historical and journalistic photography.
PHOTOS
PREMIERE
26. & 27. FEB 2015 / 19h00
DANCE UMBRELLA FESTIVAL
(Dance Factory, Cnr. Jeppe & President St,
Newtown, Johannesburg, 2001, South Africa)
CAST AND CREW
Choreography & Director: Constanza Macras
By & With: Louis Becker, Emil Bordás, Lucky Kele, Jelena Kuljic, Diile Lebeko, Mandla Mathonsi, Thulani Mgidi, Melusi Mkhwanjana, Felix Saalmann, Fana Tshabalala, John Sithole
Dramaturgy: Carmen Mehnert Visual Artist: Ayana V. Jackson Video Design: Dean Hutton Costume Design: Constanza Macras Costume Assistant: Noluthando Lobese Assistant Director: Nikoletta Fischer Sound Design: Jelena Kuljic / Abigail Thatcher Lighting Design: Catalina Fernandez Technical Direction: Abigail Thatcher
Production Management (Johannesburg): Nhlanhla Mahlangu Production Management (Berlin): Katharina Wallisch Production Office: René Dombrowski International Relations: Rui Silveira Tour Management: Ricardo Frayha
A production by Constanza Macras / DorkyPark and HELLERAU – European Center for the Arts Dresden in coproduction with Schaubühne Berlin. Funded through the Doppelpass program by Kulturstiftung des Bundes. With the support of the Swiss Arts Council Pro Helvetia.
DESCRIPTION
THE PAST explores the art of memory, or ars memoriae, in which memories are particularly strongly associated with physical locations, rooms and architecture. The starting point is the city as a concrete geographical location, as an anchor for memory, a mental picture and a cast of mind. What happens with our memories, what happens to those who are remembering when these physical places are destroyed? Constanza Macras talked to eyewitnesses who can remember cities that no longer exist in the same form today. The actions in the piece refer to the ancient techniques of ars memoriae, whereby in order to recall the thing to be remembered, we first have to find and organise our impressions. At the heart of this mnemonic technique is spatial orientation. How do we use rooms and places to remember?
The piece explores architectonic places as narrative instruments of our history – in the rewriting of history, for overcoming the wounds of the past, and for understanding contemporary events (personal and global) as part of a constant cycle that we experience as the passing of time. THE PAST is the fruit of a close collaboration with Oscar Bianchi, who composed a music delving into collective and individual memory. Exploring spaces between written and oral practice, the music embodies both the amplitude and the contradictions that rites of passage, communication and memory entail in the sphere of sound, and celebrate sound as a physical, sometime muscular, place where emotional and existential realities find in memory an independent and sometime ruleless form of storage.
PHOTOS
All photos (C) Thomas Aurin
REVIEWS
„The Past“ is one of the most beautiful and personal works of this great and intelligent choreographer. (TIP // 22.12.2014)
“The Past” is a reminder of what performing arts is capable of on stage: creating an autonomous place of cultural memory. (Süddeutsche Zeitung // 11.11.2014)
Exploring the relationship between physical locations and the art of memory, Argentinian-born Berliner Constanza Macras and Dorky Park’s bizarre dance spectacle The Past proves to be both thought-provoking and absurdly entertaining. (ExBerliner // 28.01.2015)
And soon, in the Schaubühne, you are breathlessly watching lofty discourses about the art of memory being spun into wildly proliferating threads. Threads that cleverly and subtly lead to the heart of the matter: bringing to life memories of experiences that are really beyond representation. (Berliner Zeitung // 28.11.2014)
You can feel the sparkling wit and the rampant imagination of this ensemble, which kneads everything that it touches until its meaning has been turned on its head. This kind of subversion – even of one’s own means of expression – is a strength of the Berlin choreographer Constanza Macras and her DorkyPark company. (TAZ // 11.11.14)
Macras and her excellent ensemble compellingly manage to find complex, surprising translations for childhood, city, memory (maybe grief) in their typical hybrid of dance, performance, text and music. (TIP // 22.12.2014)
Constanza Macras gift lies in forming a temporary unit out of impressively diverse ensembles, without obscuring their different artistic profiles – regardless of her predilection for flying and intertwined bodies. (Berliner Morgenpost // 30.11.14)
This evening is clever and subtle and at the same time direct and raw. (Berliner Zeitung // 28.11.2014)
One of the exceptional qualities of the Macras company is how little they rely on the idea that choreography and acting, text and music should be interlinked in order to work together. (nachtkritik.de // 7.11.14)
Despite the increasing heaviness of the subject-matter, the production retains for the most part an evocative lightness. (Tagesspiegel // 29.11.2014)
The sharpness of the production is plain to see: in the delicately cushioned falls of the dancers, the back and forth of individual scenes. Applause for a good theatre piece. (Sächsische Zeitung // 11.11.2014)
PREMIERE
November 7. & 8. 2014, 20:00, Großer Saal, Festspielhaus Hellerau
CAST & CREW
Director & Choreographer: Constanza Macras Composition & Music: Oscar Bianchi Dramaturgy: Carmen Mehnert
By and with: Louis Becker, Emil Bordás, Fernanda Farah, Luc Guiol, Miako Klein, Nile Koetting, Johanna Lemke, Ana Mondini, Felix Saalmann, Miki Shoji, Michael Weilacher
Light: Sergio Pessanha Sound: Stephan Wöhrmann Stage: Laura Gamberg // Chika Takabayashi Metal Works: Werner Knoof, Andreas Nestler Stage Mangager: Welko Funke Technical Director: Kai Kaden // Welko Funke Costume Design: Alison Saunders Costume Assistance: Daphna Munz
Assitant Director: Felipe Amaya, Nikoletta Fischer Assistant to the composer: Vincenzo Mazzone, Clara Calero Durán Trainees: Marlene Kolatschny, Lea Gugger, Victor Colmenero Mir, Laia Alberich Casañas, Louise Douet-Sinenberg
Production: Katharina Wallisch Production Office: René Dombrowski Production Intern: Friederike Aps, Raquel Moreira Tour: Ricardo Frayha Project Coordination Doppelpass: Anne-Kathrin Schmidt // Katharina Wallisch
With the friendly support of Nikkifaktur, Dresden.
Forces of the city clash with forces of bodies, that consciously and unconsciously articulate and exaggerate the manifold sensitivities within an ever-changing urban society. Against this backdrop, the international symposium Dancing About Architecture curated by Constanza Macras and Lukas Feireiss, brings together diverse positions in the interdisciplinary discussion of dramaturgy, dance, music, architecture and urban space.
PARTICIPANTS
Stephen Barber (Kingston University, London) Gascia Ouzounian (Queen’s University, Belfast) Christopher Dell (Institut für Improvisationstechnologie, Berlin) Andrew Todd (Studio Andrew Todd/Theatrum Mundi, Paris) Gob Squad (Berlin / Nottingham) Lisi Estaras & Nicolas Vladyslav (Les Ballets C de la B, Belgium & Argentina)
SCHEDULE
24.9.2014
// 19:30 // Welcome Guests at Schaubühne Berlin Café
// 20:00 // MEGALOPOLIS at Saal A
25.9.2014
// 19:00 – 21:00 // Reception Guest and Symposium Talk with Stephan Barber and Lisi Estaras at Studio 44
26.9.2014
// 14:00 – 17:00 // Workshop “The Physical Shelter” with Lisi Estaras and Nicolas Vladyslav at Studio 44
// 18:30 // Symposium Talk with Gascia Ouzounian and Simon Will at ANCB The Metropolitan Laboratory at Pefferberg
27.9.2014
// 15:00 – 18:00 // Workshop “The Physical Shelter” with Lisi Estaras and Nicolas Vladyslav at Studio 44
// 20:00 // – Show BERLIN ELSEWHERE at Schaubühne Berlin
28.9.2014
// 16:00 – 18:00 // Symposium Talk with Stephen Barber, Gascia Ouzounian, Andrew Todd, Christopher Dell at Schaubühne Berlin Saal A
// 20:00 // Show BERLIN ELSEWHERE at Schaubühne Saal A
PARTICIPANT’S DETAILS
Stephen Barber
Stephen Barber is author of numerous books on international performance cultures, including three studies of the work of Antonin Artaud (most recently, on the final notebooks: Artaud: Terminal Curses, 2008), and books on the Japanese performer/theorist Tatsumi Hijikata, on the work of Jean Genet, and on the films of the Vienna Action Group’s performances. He has also published many books on urban cultures in relation to performance, film, photography and digital art; His recent books are: Muybridge: The Eye in Motion (Chicago University Press, “Solar” series, 2012), England’s Darkness (Sun Vision Press, 2013) and Performance Projections: Film and The Body in Action (Reaktion, 2014). He is currently Professor of Visual Culture at Kingston University in London. He is Fellow of the International Research Center, Interweaving Performance Cultures, at Free University Berlin, and Professor in the Faculty of Art, Design, and Architecture at Kingston University, London.
Christopher Dell
Christopher Dell, doctor of philosohphy, lives and works as theoretician, artist and musician in Berlin. He has held a position as visiting teacher for Architecture Theory at the University of Fine Arts Berlin, visiting professor for Urban Design Theory at HafenCity University, Hamburg (where he also co-lead the research-project „University of Neighbourhoods“) and the Technical University, Munich. Since 2009 he is member of the ANCB Network Campus executive board.Teachings a.o. at Architectural Association, London, University of the Witwatersrand Johannesburg, Columbia University New York, Academie for Bouwkunst, Arnhem. Dell is author of numerous articles and books „Improvisations on Urbanity“ Rotterdam 2009 (with Ton Matton), „Tacit Urbanism“, Rotterdam 2009, and REPLAYCITY (Berlin 2011), “Die improvisierende Organisation”, Bielefeld 2012, “Ware:Wohnen!”, Berlin 2013, “Das Urbane” Berlin 2014.
Lisi Estaras
1971, Cordoba (AR) Lisi studied dance in Cordoba (Argentina) and later on in Jerusalem in the Rubin Academy of Music and Dance. Later on she danced with the Ensemble Batsheva in Tel Aviv.Since 1997 Lisi works with les ballet C de la B. She danced in Iets op Bach, Wolf, vsprs, pitié!, C(H)ŒURS by Alain Platel, and Tempus Fugit by Sidi Larbi Cherkaoui.Through the years Lisi developed her own work; she created and performed in Bartime (Campo, Ghent), Cocina Erotica and No Wonder with Constanza Macras (Schaubuhnne, Berlin).At les ballets C de la B she directed Patchagonia, Bolero, The Gaza Monologues, primero and her latest piece, Dans Dans; in coproduction with het Kip (Ghent).
Gob Squad
Gob Squad is a British-German collective based in Nottingham and Berlin. They have worked collaboratively since 1994 in the fields of performance, video installation and theatre. They create mid-scale work that combines audience interaction with real-time video editing. The collective often use popular culture to explore the complexities of everyday life in urban spaces – in houses, shops, underground stations, car parks, hotels or directly on the street. Here reality and entertainment are set on a collision course and the audience are often asked to step beyond their traditional role as passive spectators and bear witness to the results.
Gascia Ouzounian
Gascia Ouzounian (BMus, MMus McGill University, PhD UC San Diego) is Lecturer in Creative Arts at Queen’s University Belfast. She has published and lectured widely on the topic of sound and space, focusing on such areas as sound installation art, site-specific sound, the history of spatial audio, acoustic mapping, and sound art in public and urban spaces. Ouzounian is committed to bringing the work of contemporary composers and sound artists to new forums. As a violinist and artist she has performed and presented her work across North America and Europe. Ouzounian is founder of Optophono, a label that publishes interactive sound and multimedia works (see www.optophono.com), and along with architect Sarah Lappin initiated the interdisciplinary research group Recomposing the City: Sonic Art and Urban Architecture at the Institite for Collaborative Research in the Humanities at Quenn’s University, Belfast.
Andrew Todd
Andrew Todd studied English at Cambridge and architecture at the University of Pennsylvania before moving to Paris, where he established his own architecture practice Studio Andrew Todd. The architecture and scenography practice has completed projects throughout Europe with a particular emphasis on spaces for the performing arts. Todd is co-author of the book ‘Peter Brook’s Theatre Environments’ (faber), written in collaboration with theatre director Peter Brook. He’s also part of Theatrum Mundi, a professional network of urbanists and artists in different cities, started by Richard Sennett. The collective consists of academics, architects, planners, performing and visual artists, with the aim to stimulate discussion about practices spanning stage and street. Andrew was made Chevalier des Arts et Lettres in 2011 by the French government for services towards the integration of different artistic disciplines.
TEAM
Production Management: Katharina Wallisch Production Office: René Dombrowski
Artistic Exchange with South African Artists on Gender and Tradition
Curated by Constanza Macras and Tamara Saphir.
Thanks to Georgina Thompson and the Dance Forum team in Johannesburg, PJ Sabbagha and the Forgotten Angle Theater Collaborative, Stevenson Gallery Johannesburg and Cape Town, Goethe-Institut Johannesburg, S.-R. N’Sonde, Kimba Mutanda Andersen andTayaka A/free/Collective, Tatiana Saphir and many others.
Supported by the Kulturstiftung des Bundes and Der Regierende Bürgermeister von Berlin – Senatskanzlei – Kulturelle Angelegenheiten.
With the friendly support of the Dance Forum South Africa and the Dance Umbrella Festival.
DESCRIPTION
“Stating the plurality of the singularity is perceived as one of the most effective means to negotiate the Babel of races, cultures and nations, that has become unavoidable through globalization’s long history.” Achille Mbembe “De la Postcolonie”.
In his foreword to “On the Post-colony”, Achille Mbembe describes a movement coming from the margins and gaining its place at the core of different artistic disciplines and social studies. A movement that have been developing its own lexicon, theoretical arsenal, and different methods to analyze and interrogate “paradigms on the subject of race and diasporas (critical race studies), on sexuated difference (feminisms, gay issue), on post colonialism and subaltern knowledges (subaltern studies), and on the contemporary circulation of all sorts of flows (public culture)” (Achille Mbembe, “De la Postcolonie”, ed. Karthala 2000).
Short before the 20th anniversary of the first multi-racial democratic elections in South-Africa, a prolific variety of talented south african artists and thinkers are engaged on these interrogations, questioning the norms and processes that assign categories and values, the never- ending negotiation of identity constructions in the specific cultural, historical, socio-economic and political landscape of the Rainbow Nation. Taking them seriously, is a choice to believe in Mbembe’s promise for deepening a reflection on the democratic order, the politics of recognition and inclusion and our relation to the other and the world.
ARTISTS IN RESIDENCE
A special focus in the program will be given to south african LGBTI (Lesbian, Gay, Bi -and Trans- Intersex) activists that are questioning the norms of gender/sexuality identity constructions, working in the space between the most progressive legislation of Sub-saharan Africa to this regard and a reality that remains conflictive. In a country that belongs to the so-called world’s “Champions League” in terms of gay marriage, the phenomena of corrective rapes and the specific vulnerability to violence for LGTBI’s and women are still a severe reality. Moreover, homosexuality is considered by some as “un-African”, namely a “decadent” import from North America and Europe. Paradoxically, this homophobic belief is a relic of a Puritan legislation inherited from the period of British colonial era. Yet, in order to craft narratives of a south-african identity that includes LGTBI it seems still hard to avoid dealing with more complex processes related to religious practices and powers, as well as the cultural and political interpretations, re-interpretations and sometimes an instrumentalization of tradition and heritage.
On the other hand, the re-evaluation of heritages and traditions long related to segregated cultural groups are being articulated in new ways with urban life, and with self-defined contemporary practices and productions, that we want to include in this program. This often links to a subaltern reflection on post-colonial/post-apartheid ongoing power struggles and the artistic deconstructions of colonial/patriarcal imageries of the other.
28.02.2014 – 01.03.2014
19H30 – ”SHE IS NOT A GIRL, SHE IS NOT A BOY” BY AND WITH MMAKGOSI KGABI & JULIANA PIQUERO
“She is not a girl, she is not a boy” will question the interstices between the public space of performativity and the intimacy of the body’s inner perceptions. What remains once ambiguity has exploded all categories? An exploration of the significance or in-significance of words and movement. A language within language haunting us back, as the fantom of what it should and should not had been.
21H00 – “LOST IN TRANSITION” BY AND WITH KIERON JINA, MIKI SHOJI & JAN SEBASTIAN SUBA
Kieron Jina did an extensive field research on the “invisible” male sex workers from Cape Town. Sebastian Suba collected statements, anecdotes and legends of male porn stars. Miki Shoji joins them for creating an interdisciplinary performance work about hidden transactions and overexposed bodies, confessions and professions, witnessing and peeping. On the performativity of sex and the instability of gender.
07. – 08.03.2014
19H30 – “LELEME”, DANCE SOLO BY & WITH LERATO SHADI
Choreographical collaboration: Miki Shoji
In “Leleme”, the expression “mother tongue” is taken literally, as a departure point to explore how colonial language can be experienced physically. A negotiation of space is at stake, in the dynamics of hiding and revealing, enclosing, restricting, protecting. The prevailing themes in Lerato Shadi’s current body of work are a performative investigation into the politics of transformation, or transition, from absence to presence, subject to object, inclusion, exclusion and vice versa. Knitting, installation, video and sound are some of the media she uses to record this topical inquiries.
21h00 – “SHADES OF A QUEEN” BY AND WITH MMAKGOSI KGABI
Shades of a queen… is an experimental work investigating the constructs of identity. It evolves around rituals as important signifiers, and a fascination with intercultural exchanges that is certainly rooted in globalization. The creative process is based in personal experiences in public spaces i.e. conversations in taxi ranks, subway stations, airports, markets. “Omang? Who are you?…Who am I? I am a dusty feet traveller…An immigrant, a refugee, a traveller, a transient being, moving, shifting, crossing, riding, giving, taking, displaced and removed, a spawned street kid.” ‘I was spawned as the shoot of a veined directive relieved itself. Spawned as regret settled before rushing rivers of blood quietened. Spawned before whispers of my coming were ever muttered. Tuunikohaa!’
28. – 29.03.2014
19H30 – “MANDIOCA” BY AND WITH LUCKY KELE & RONNI MACIEL
Between the inhabited body of the ritual and the rituals of the technical performance, a duo work at the moving edges of trans/cendant states and immanent formal virtuosism. Lucky Kele and Ronni Maciel will interrogate what moves them and how to move together.
21H00 – “WENA MAMELA” BY AND WITH MAMELA NYAMZA
If you don’t wash the dishes, no ballet for you today.
But I took my swimming costume and ran …
Me and her, you and them, us both.
All.
30.03.2014
12H – 18H – “IT ALL DEPENDS”: ON FIRE @ VISIONARY ARCHIVE
Co-curated by Marie-Hélène Gutberlet and Tobias Hering
Re-encounters with African cinema in joint film viewing sessions are a central component of the translocal research project Visionary Archive. On 30.3 four South African artists will be our guests. They are currently resident artists of the Constanza Macras/Dorky Park’s performance project “on Fire” in Berlin. The films MUEDA, MEMORIA E MASSACRE (Mozambique 1979) and COME BACK, AFRICA (SA/USA 1958) will open up associative approaches to discuss body politics, working on history and the role of performance art in “stating the plurality of singularity” (A. Mbembe) in southern Africa, with Lucky Kele, Mmakgosi Kgabi, Zanele Muholi and Mamela Nyamza.
05.04.2014
19H30 – “SIFELA I AYIKHO” BY AND WITH ZANELE MUHOLI, MAUREEN VELILE MAJOLA & JELENA KULJIC
The performance SIFELA I AYIKHO – which is a Zulu expression translated loosely to WE ARE BEING KILLED FOR NOTHING – is exploring parts of South African social landscapes in which the lives of black lesbian and trans women in South Africa, including our own, is always exposed to danger.
The project is an effort to reclaim citizenship and is also a call for an end to queercide, a term coined by Zanele Muholi for the systematic atrocities and hate crimes against lesbians, gay men and trans people in South Africa.
The project is motivated by the ongoing epidemic of brutal murders of black lesbians in the post-Apartheid South Africa.
We are in a crisis.
One lesbian death is a loss to the entire nation.
Children have been orphaned by hate crimes.
Lovers lost their beloved.
Family members mourn their relatives and children.
The workplace and classroom is robbed of its professions.
South Africa’s democratic laws instituted by the Constitution of 1996 are meant to protect the LGBTI community from all forms of discrimination, but our communities have been invaded by an epidemic of violent hate crimes, including callous murders and ‘curative rapes.’
Therefore we need to take action as concerned members of larger the society.Innocent individuals have been dismembered due to sexuality and gender expression.
The performance takes form of a stage protest, poetry, song and musical instruments are used to emphasize the ongoing incidents.
The performance will expand on an existing body of work that documents hate crimes against black lesbians that Zanele Muholi developed since 2004 and consists of three parts:
– PART 1 – Blank Portraits
– PART 2 – Crime scene memorial (motion picture)
– PART 3 – Previous Film titled ‘Isililo’ – projection
25. – 26.04.2014
20H00 – “HUMAN REMAIN(S)” BY AND WITH ATHENA MAZARAKIS, ANOUK FROIDEVAUX & EMIL BORDAS
Human Remain(s) is the intersection of three responses to the violence of ‘othering’. The performer-creators Emil Bordas, Anouk Froidevaux and Athena Mazarakis draw on their own contexts and their personal relationship to tradition to enter a conversation around the ways in which tradition regulates bodies and bodily practices and shapes individual experience. A series of installation-based vignettes creates a remote space in which this conversation is made possible.
ARTISTS IN RESIDENCE
Anouk Froidevaux is a Canadian Swiss dancer and performer who grew up in Vancouver, Canada, where she studied classical ballet and contemporary dance. She later graduated from the Rotterdam Dance Academy, Codarts. Since then she has been working as a freelance contemporary dancer with companies and choreographers in several productions and touring internationally. In 2009, Anouk joined the dance theatre company, Constanza Macras/Dorky Park and has been part of the major productions. Anouk has also cultivated her passion for the healing arts, becoming a certified Pranic Healer and fully certified Gyrotonic® instructor.
Emil Bordás is a professional contemporary dancer from Hungary. He started dancing with Hungarian folk dance in elementary school, continued with ballet in high school and graduated from the Budapest Contemporary Dance College. He started to work as a professional dancer in Budapest, where he met Constanza Macras. Emil performed in DorkyPark productions “Open for Everything”, “Forest: The nature of crisis” and “The Truth about Monte Verita”.
Kieron Jina was born in Durban and currently lives in Johannesburg. Interdisciplinary experimentation using multiple artistic mediums” is one way of describing his innovative performance art and dance creations. Jina uses performance art to tell personal stories that, underpinned by activism, explore societal themes and challenge stereotypes. With a master’s in dramatic arts from Wits University, Jina is a co-founder of Stash the Suitcase Collective. Kieron was selected as a DanceWeb scholar for 2013 at the ImPulseTanz Festival in Vienna, Austria. He was recently awarded top 200 Mail and Guardian Young South Africans of the year.
Lucky Kele specializes in traditional and contemporary African dances. He grew up in Katlehong (ZA), a township in the East Rand known for its criminality and poverty. He translates the memory of a rough childhood in his tormented dance. As a choreographer he conceived many works that have been presented in various festivals in Africa, the US and Europe.
Mmakgosi Kgabi studied Choreography and Acting at Rhodes University (2007). She was born out of wedlock to a South African freedom fighter and a Botswana maiden. She has performed on several platforms both at home in Johannesburg and internationally. Among others, she collaborated with Mbogeni Ngema’s, Constanza Macras’s the Offside Rules (2010) and Pink Zebra Theatre Co.’s Super Zoom for the Impulstans festival in Vienna (2011). She’s a member of Stash the Suitcase Performance arts Collective.
Jelena Kuljic was born in Serbia and moved to Germany in 2003 to study singing at the Jazz Institute Berlin. Along with her own band, Yelena K & The Love Trio (Double Moon Records 2010), she has been a featured guest in many music and theatre projects through-out Europe. Jelena has worked extensively as a singer and actress with the director David Marton. Some of the their productions have included such important theatres as Vienna’s Burg Theater, The Royal Theater of Copenhagen, Volksbuehne Berlin, MC93 Paris/ Schaubühne. Since 2013 Jelena is working with Constanza Macras/Dorkypark. In March 2014 Jelena’s band KUU! is releasing their first album Sex gegen Essen.
Ronni Maciel was born in Carmo, Brazil. He studied ballet in Rio de Janeiro and danced for the Balé Teatro Guaira, the state ballet of Curitiba, Brazil. In 2006 he joined the company of Constanza Macras/DorkyPark and moved to Berlin. In 2013 he choreographed the German premiere of Chico Buarque’s “Ópera do Malandro” at the Neuköllner Oper Berlin. In the same year he co-choreographed and performed in the film Anahí’s Room by director Ivalo Frank. Ronni’s latest solo piece, “Diversion”, premiered at Platforma in Berlin, 2013.
Athena Mazarakis is an award-winning South African choreographer and performer working in the areas of Physical Theatre and Contemporary dance both nationally and internationally. In her recent works, such as the autobiographical solo Coming To, the interactive installation elev(i)ate and the site-specific Standing By, Athena has been exploring the relationship between the body and live digital arts interfaces. Her creation elev(i)ate2 earned her a Silver 2010 Standard Bank Ovation Award of the National Arts Festival in South Africa. Athena has collaborated with leading South African companies such as The First Physical Theatre Company and The Forgotten Angle Theatre Collaborative. She has been awarded a Gauteng MEC award for Most Outstanding Female dancer (2005) and a Kanna Award, for Most Prestigious Achievement in Dance Theatre (2007).
Zanele Muholi is a visual activist born in Umlazi, Durban and currently lives in Johannesburg. Studied Photography at Market Photo Workshop, Newtown, Johannesburg and later, MFA: Documentary Media at Ryerson University, Toronto. Muholi is the founder of a collective call Inkanyiso with a Queer Art Activism media outlet. She has contributed her photography to many queer and art publications and academic journals.
Maureen Velile Majola is an activist, poet and writer from Alexandra township, Johannesburg in South Africa. She is a young feminist and currently associated with Coalition of African Lesbian (CAL) as the Documenting Officer. She is a crew member of Inkanyiso.org founded by Zanele Muholi.
Mamela Nyamza was born in Gugulethu, Cape Town. She trained in contemporary dance and Ballet in South Africa and at the ALVIN Ailey American Dance Centre. She’s been developing her own artistic practice through choreographies that deal with important political and societal issues of today’s South Africa. Mamela has presented her work in various dance festivals in both Africa and internationally. She won the STANDARD Bank Young Artist Award in Dance 2011.
Juliana Piquero was born in Buenos Aires, and lives in Berlin. As a performer and dancer she worked with Volumen Express Collective, kom.post. and the group Fanny Fractal, with whom she was awarded a scholarship for dance research of NRW. She also works with Nathalie Fari, Michaela Muchina, Sandra Teigte, Kat Válastur and Constanza Macras. The first fragment of her trilogy Surviving, Everything is possible in the space in between, won the award “Innovation in performance” in Stockholm.
Jan Sebastian Suba is an actor/performer from Berlin. As a stage actor, Sebastian worked in some mainstream venues, such as Staatstheater Stuttgart, but he carries out most of his work as a freelance performer in the Freie Szene (free scene) of his home town Berlin. His collaborations in recent years included leading artists and companies, such as performance theater collective Andcompany&Co, Artist Yael Bartana, Hans- Werner Krösinger, Bruno Cathomas, Musician-Director Santiago Blaum, Aktionstheater Ensemble Wien from Vienna, Theater company Lubricat queer performance group Cheap, Filmmakers Christian Frosch and Edwien Brienen, Choreographer Nir de Volff and Art-Pop icon Peaches. Since 2011 he works regularly with Ariel Efraim Ashbel / AKA Performance Squad.
Lerato Shadi, 1979, lives and works in Berlin (GER) and Johannesburg (SA). She completed a BFA in Fine Art from the University of Johannesburg. In 2008 she was a featured artist in Art South Africa magazine, and in 2009 she was included in the The Generational: ‘Younger Than Jesus artists-directory’ published by the New Museum, New York. In 2010 she was awarded a Pro Helvetia residency in Bern, Switzerland. In the same year she had her solo exhibition Mosako Wa Seipone at GoetheonMain in Johannesburg. From 2010 to 2012 she was a member of the Bag Factory artist studios in Fordsburg, Johannesburg. In 2012 her work was featured at the Dak’art Biennale in Dakar, Senegal and in the III Moscow International Biennale. She is a fellow of Sommerakademie 2013 (Zentrum Paul Klee) and completed in the same year a residency program by invitation of INIVA at Hospitalfield (supported by ROSL). Currently she is doing her MFA at the Kunsthochschule Berlin Weissensee (GER).
CREW
Light & Sound: Catalina Fernandez, Stephan Wöhrmann Stage: Laura Gamberg, Chika Takabayashi Production Management & Office: Katharina Wallisch, René Dombrowski, Ricardo Frayha
A production by Constanza Macras | DorkyPark. In co-production with Schauspiel Leipzig and euro-scene Leipzig.
Funded by NATIONALE PERFORMANCE NETZ (NPN) Koproduktionsförderung Tanz aus Mitteln des Beauftragten der Bundesregierung für Kultur und Medien aufgrund eines Beschlusses des Deutschen Bundestags.
With kind support by Museum der bildenden Künste, Leipzig and Völkerschlachtdenkmal, Leipzig.
DESCRIPTION
Monte Verità (Italian: truth mountain) rises over Ascona, picturesquely located at Lake Maggiore in the Swiss canton of Tessin. In the first two decades of the 20th century, it was the site of an artist colony that was deemed one of the most significant sources of alternative movements. Those seeking truth fled here from civilisation and sought romantic and nature-oriented ways of life. The mountain became legend thanks to the pacifists and emigrants who came together here, such as Gerhart Hauptmann, Ernst Bloch, Erich Maria Remarque and the dadaist Hugo Ball among many others.
“The truth about Monte Verita” is an evening composed of an expressionist silent interactive film, where the audience is meant to write the text of the movie through SMS and a subsequent live performance
The live performance »The truth about Monte Verità« concentrates on the 8 basic efforts of Rudolf von Laban (1879-1958), whose summer courses on Monte Verità were an important starting point for German expressive dance. His utopia of a liberating dance in harmony with nature stands in conjunction with the criticism of the increasing technologicalisation and industrialisation of modernity.
The artist colony had it height between the 2 world wars . Through 8 basic efforts of Rudolf Laban an expressionist dadaist performance is created that echoes dead, despair and the wish of lightness and diversion.
PHOTOS
(C) Rolf Arnold
CAST & CREW
Direction and Choreography: Constanza Macras
From and with: Louis Becker, Emil Bordás, Fernanda Farah, László Horváth, Nile Koetting, Jelena Kuljić, Almut Lustig, Ana Mondini, Felix Saalmann, Miki Shoji
Costume Design: Gilvan de Coêlho de Oliveira, Allie Saunders (Video) Stage Design: Laura Gamberg, Chika Takabayashi Music: Fernanda Farah, Jelena Kuljić, Almut Lustig Video: Catalina Fernandez, Jon Street, Claire Wilkins Assistant Director: Felipe Amaya, Nikoletta Fischer
Technical Director & Light: Arvid Piasek
Production: Katharina Wallisch Production Office: René Dombrowski, Josephine Reinisch Administration: Aminata Oelßner Tour: Ricardo Frayh
A production by Constanza Macras DorkyPark in coproduction with Schaubühne am Lehniner Platz, Schauspiel Leipzig, euroscene Leipzig, and ProduZentren Baden-Würtemberg (E-Werke e.V. Freiburg, franz.K e.V. Reutlingen, Roxy gGmbH Ulm, Tanz- und Theaterwerkstatt e.V. Ludwigsburg, Tollhaus e.V. Karlsruhe).
Supported by the Capital Cultural Fund and the Governing Mayor of Berlin – Department for Cultural Affair.
Kindly supported by Berliner Forsten, Allianz Kulturstiftung, Stiftung Mercator, Rudolf-Augstein Stiftung and Kulturprojekte Berlin GmbH.
DESCRIPTION
How do romantic concepts of life and nature linger on in the current German “Forest” ideology? In the past, concepts of the “Forest” always found expression in literature and culture as a reaction to a social sense of crisis. It could even be said that they established the political basis for the opposition – as with Robin Hood in Sherwood Forest. In the current climate of economic crisis, which narratives are in demand in society and which are capable of assuming the role? The Nature of Crisis aims to explore the mythological and contemporary motives of change and concerns for the future. Constanza Macras’ international team bring their varied cultural and biographical points of view to bear on the performance as they lead the audience through the “German Forest”. In the enchanted forest, the audience also encounters real environmental activists and forest campaigners, who explain their philosophy of life. Constanza Macras addresses the mythological image of the “German Forest” and connects it to current socio-political and cultural developments. Confronted with the crisis of the global economy fairy tale, the show reviews the German Forest’s current power to transform and takes a look at the sustainability of mythological narratives. – Does the Myth of the (German) Forest comprise a potential for change for our society today?
(C) Thomas Aurin
REVIEWS
The three hour walk in the woods leads through a field of various topics. It broaches the issue of unleashed capitalism and untamed consumption, rubbish recycling and the „grüne Punkt“. „A civilisation is a culture which has a dump“, somebody says. Macras develops an educational furore, she unmasks the fairy-tales which are exposed to the consumers nowadays. (Tagesspiegel, 11.08.2013)
Now the audience sits close next to each other and secure in the idyllic beautiful forest, listening fascinated to the horror stories from the capitals. Macras developed some beautiful sceneries and assembled a wilfull crew, bizarre, fantastic characters. (Berliner Zeitung, 11.08.2013)
Whether these are fairy-tale characters or real contemporaries who dance a disco grotesque is unclear, the boundaries are blurred long ago. Three hours come to an end, which amalgamate furious fairy tale scenes, comments on the economic crisis and the environmental consciousness. Your own fantasy can sprout while leading the way out of the forest ligthing the path with a torch in your hand. (Taz, 12.08.2013)
One can always in a sublte way read between the lines, that romantic longings still have a driving force today. The darkening forest supplies the scenery without Macras biting into it like a parasite and making this trip to a very successful business. (www.nachtkritk.de, 11.08.2013)
Choreography and director: Constanza Macras Dramaturgy: Carmen Mehnert
From and with: Louis Becker, Emil Bordás, Ádám Horváth, László Horváth, Catriona James, Nile Koetting, Jelena Kuljic, Johanna Lemke, Kristina Lösche-Löwensen, Almut Lustig, Ana Mondini, Felix Saalmann, Miki Shoji
Guests: Sarah Bockers, Esteban Castro, Aris Chantzopoulos, Samantha Franchini, Martina Garbelli, Albert Garcia Sauri, Ina Gercke, Jolanda Löllmann, Uwe Preuss, Jefferson Preto, Luana Rossetti, Rodolfo P.P. da Silva
Music: Kristina Lösche-Löwensen, Almut Lustig, Jelena Kuljic
Stage technician: Christian Knöller Light technicians: Leroy Hawelky, Anne Hübschmann, Eduardo Abdala Sound technician: Sebastian Braunreuther, Toni Bräutigam
Assistant Director: Felipe Amaya, Nikoletta Fischer Trainee Director: Ana Roca, Pau Masalo Assistant stage design: Chika Takabayashi, Juliette Collas Trainee stage design: Andreina Vieira dos Santos, Nina de Ludemann Trainee costume design: Florentine Helene Gerstenberg Trainee sound: Angela Munoz, Christine Wünsch
Production: Katharina Wallisch Production assistants: Josephine Reinisch, René Dombrowski, Joao Victor Toledo Administration: Aminata Oelßner Tour: Ricardo Frayha
Eine Produktion von Dag Lohde und René Dombrowski. Co-produced von SOPHIENSAÆLE. Gefördert aus Mitteln des Hauptstadtkulturfonds, der Schering Stiftung, der KONE Foundation und des Finnland Instituts. Mit freundlicher Unterstützung durch Karl-Hofer-Gesellschaft, Universität der Künste Berlin und Uferstudios.
TRAILER
BESCHREIBUNG
Der französische Mathematiker Pierre Louis de Maupertuis reist 1736/37 nach Lappland, in den hohen europäischen Norden jenseits des Polarkreises. Sein Ziel war herauszufinden, ob die Erde an den Polen oder am Äquator abgeflacht ist. Dort angelangt, begegnet ihm Christine Planström, eine Frau aus der nordischen Wildnis. Er ist hingerissen von ihr, und nachdem er seine Untersuchungen erfolgreich abgeschlossen hat (Stichwort: Mandarine), begleitet sie ihn nach Paris. Hier avanciert er zum Star der Salons, während sie mit den Normen und Codes der höheren Gesellschaft ringt.
Das zeitgenössische Musiktheaterstück La Figure de la Terre von Miika Hyytiäinen und Jaakko Nousiainen handelt von diesen beiden Reisen in die Fremde und den Anforderungen, die eine feindliche Umwelt an das Überleben stellt.
Hyytiäinen arbeitet mit musikalischen Zitaten des Barock und Musiklinien traditioneller lappländischer Musik und verknüpft sie mit Geräuschen, Klängen und Echos, die digital erstellt sind und mit den MusikerInnen interagieren. Begleitet wird die Aufführung von einer echtzeitgenerierten Videoperformance von Mia Mäkelä.
Uraufführung am 13. April 2013 in den SOPHIENSÆLEN in Berlin. Weitere Aufführungen am 14. sowie 18. – 20. April 2013.
CAST & CREW
komposition Miika Hyytiäinen regie/libretto Jaakko Nousiainen
bühnenbild/live video animation Mia Mäkelä bühnenbild assistenz Kerstin Narr dramaturgie Dag Lohde/Susanna Heise kostüm Lisa Kentner make up Julia Frommhold
CONSTANZA MACRAS | DORKYPARK wurde 2003 von Constanza Macras und Carmen Mehnert gegründet. Die Company arbeitet in wechselnden Besetzungen mit verschiedenen internationalen Tänzern, Schauspielern und Musikern zusammen und kombiniert in ihren Stücken Text, Live Musik, Tanz und Video.
Die Company tourte mit verschiedenen Stücken u.a. in Korea, Japan, Indien, Indonesien, Argentinien, Brasilien, Chile, Kolumbien, Südafrika, den USA und wurde zu vielen verschiedenen europäischen Festivals, wie z.B. dem Festival d’Avignon in Frankreich oder dem Aarhus Festival in Dänemark eingeladen.
DorkyPark wird u.a. durch den Hauptstadtkulturfonds und der Bundeskulturstiftung unterstützt und arbeitet regelmäßig mit Berliner Theatern wie etwa dem Hebbel am Ufer oder der Schaubühne am Lehniner Platz zusammen.
Das Aufgabenfeld umfasste neben dem Tourmanagement (u.a. Kolumbien, Bolivien, EU) auch Produktion & Öffentlichkeitsarbeit.
»Jeder ist entsprossen aus einem uralten Königsstamm. Aber wie wenige tragen noch das Gepräge dieser Abkunft.« Novalis
Tim und Emilia sind ein Paar. Sie will nicht heiraten. Er ist gelangweilt. Mandy ist jemand Besonderes: Tim könnte ihr ewig zusehen, wie sie ein Buch liest oder im Supermarkt Gemüse aussucht. Tim liebt Mandy. Ihr würde er treu bleiben. Mit ihr möchte er alt werden. Aber noch ist da ja Emilia. Und Mandys Freund. Was folgt, ist so alt wie die Menschheit.
Tim und Mandy wissen nicht, dass sie sich bereits kennen: Ihre Spuren führen bis zu den Libretti des 18. Jahrhunderts, bei denen sich Mozart für mehr als fünfzig Konzertarien bediente, die er Zeit seines Lebens komponierte. Tim heißt in Wirklichkeit Timante und ist ein griechischer Königssohn. Mandy heißt Mandina und stammt aus Apulien. Emilia hieß ursprünglich Dido. Das war damals. Heute ist Mandy schwanger und weiß nicht von wem.
Aus vierzehn Konzertarien, drei Duetten, einem Terzett und einem Quartett entsteht eine unbekannte Mozartoper. Die Figuren gehen wie Messer durch die Zeit. In unserer Inszenierung erwächst aus Mozarts Arien und Sprechtexten von Judith Schalansky eine zeitgenössische Liebesgeschichte. Mehr noch: die Uraufführung einer Mozart-Oper: MANDYS BABY.
Regiedebüt von Tilman Hecker. Uraufführung im Radialsystem V im Juli 2009.
The Young Curators Academy is funded by:
