Programme
Today | 20:00
Tomi Paasonen
Pas de Q
Tomi Paasonen-final-15
December 01 02 03 | 20.00
December 04 | 18.00
Tickets
Dance
Festsaal | 15/10 €

Pas de Q enters the classical ballet world to turn choreographic forms and traditions upside down and reinvent them. A queer ensemble of male and non-binary dancers
pushes movement, dance and queer aesthetics to the extreme. In a utopian science fiction world, the team fuses drag art and pointe dance into a labyrinth of imaginative perversions, beyond morality and shame. 

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Enad Marouf
In My Hand a Word
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December 09 10 | 20.00
December 10 | 17.00
December 11 | 18.00
Tickets
Hochzeitssaal | 15/10 €

In the scenic adaptation of his own text, the Syrian-German performance and video artist Enad Marouf deals with loss from a queer perspective: the loss of family, home and relationships, but also that of meaning and language. The audience enters a place where fragments overlap. Two figures move through scenes whose internal coherence continues to unravel through memories, anecdotes, and associative references.

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Melanie Jame Wolf
The Creep
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December 17 18 | 16.00
Performance

The Creep at feldfünf is the first in a series of installations by Berlin based choreographer and visual artist, Melanie Jame Wolf, in which she will enact her ongoing creep studies. It is a choreography between two figures – a cowboy and a mountain – embodying a poetic meditation on violence and storytelling.

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Jelena Stefanoska & Saša Asentić
Жизела / Giselle
PM_Sasa Asentic_Giselle_Foto_Marija Erdelji_4026
December 17 18 | 18.00
Tickets
Festsaal | 15/10 €

Жизела / Giselle uses dance and language to explore the similarities and differences between the artist Jelena Stefanoska and the tragic ballet character Giselle. The piece tells of the need to love and be loved – and, above all, of the desire and feeling to live a life with dignity.

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Specials
Festival
Tanztage Berlin 2023
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© Jan Grygoriew

JANUAR 05 – 21

Hey, why do you look so tired? "Urgency culture" expects us to be connected and responsive constantly. There is little to no time left to imagine the world otherwise. Tanztage Berlin – a yearly festival highlighting the work of the city's emerging dance makers – is back to diagnose the present and predict the future. Its 32nd edition investigates our daily overstimulation and chronic fatigue by reflecting on how we move to the rhythm of today's high-speed, social media-driven reality and its challenges.

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Anna Natt Queering Nosferatu

  • Anna Natt_final-3_Mayra Wallraff
    © Mayra Wallraff
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  • Anna Natt_final-17_Mayra Wallraff
    © Mayra Wallraff
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  • Anna Natt_final-9_Mayra Wallraff
    © Mayra Wallraff
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    © Mayra Wallraff
Performance/Sound Art
2022 October 27 28 29 | 20.00
2022 October 30 | 18.00
Festsaal

Premiere 

Little language

Vampires are sexy, elegant and well-integrated – at least that's what current pop culture suggests. Almost forgotten is the horror that first entered the cinema screen almost 100 years ago with the monstrous and simultaneously awkward figure of Nosferatu. In her new performance, Anna Natt, together with the composer and pipe organist Robert Curgenven, examines this particular vampire figure from F.W. Murnau's and Werner Herzog's films for its queerness: a being with non-normative desires who lives outside the heteronorm and whose grotesque movements recall the stiffness and loss of precision of aging bodies. Inspired by expressionist silent film, the monstrous, the insatiable, the vampire's too-much-ness meets the feminine – which in turn is itself defined in heteronormative discourses as the threatening "other." Within Curgenven’s live multichannel pipe organ composition, Anna Natt's Nosferatu awakens. Here he* may finally be and belong!

The play deals with the pleasure of biting and sucking blood.

If any questions remain from the following information, please feel free to contact Hannah Aldinger at barrierefreiheit@sophiensaele.com or 030 27 89 00 35. Please note that details may change by the day of the event.

The play lasts 70 minutes and uses English spoken language, English and German written language and German subtitles. It is suitable for audiences aged 16 and over. The audience will be seated in the dark during the performance. Floor fog, a coffin-like stage prop and an organ are used on stage. An creepy atmosphere is created. The music can be experienced physically in the play. Deep bass can cause vibration in the body. It gets loud in places. Several screens hang in the room on different levels. English and German text as well as bodies and individual body parts that move faster over time are projected onto them, overlapping at times. The piece concludes with a participatory part in which the audience can optionally get in touch with Nosferatu, the main character.

The audience area on the grandstand is seated. There are two wheelchair seats, which can be reserved according to availability or purchased in the online ticket shop or at the box office. If, for artistic reasons, the door to the auditorium does not open until very shortly before the performance begins, there is the option of early boarding. This is early admission for all people (especially those with visible or non-visible disabilities) who want a specific seat or a more relaxed entry. Early Boarding usually starts 10-20 minutes before the performance starts. The meeting point is next to the bar. Five minutes before Early Boarding begins, an on-site announcement will draw your attention to it once again. Our evening staff will be happy to help you find the meeting point.

You can also find more information about accessibility here. 

ANNA NATT received her training in traditional flamenco dance in Seville, Spain. Her stage performances, video works and interactive pieces have been shown internationally in theaters as well as galleries and alternative spaces. Beyond her dance training, she draws inspiration from various somatic and contemporary practices. In this way, she seeks to develop a deeper understanding of the body and its many facets. Another central theme in her work is the connection to trance and dream states.

ROBERT CURGENVEN produces albums performances and installations that emphasize physicality, our embodied response to sound and its correspondence to location, air, weather and architecture. Using such diverse means as pipe organ, turntables and dubplates, field recording through to feedback he has created works for National Gallery of Australia National Museum of Poland (Krakow), Palazzo Grassi (Venice), Transmediale (Berlin), National Sculpture Factory (Ireland) and festival performances including Sydney Festival, Maerzmusik (Berlin), Insomnia (Tromsø) and Sonic Acts (Amsterdam). Curgenven is an associate composer with the Contemporary Music Centre (Ireland) and guest lecturer in music and sound throughout Australia and Europe.

ARTISTIC DIRECTION, PERFORMANCE Anna Natt COMPOSITION, PIPE ORGAN Robert Curgenven VIDEO, VIDEO INSTALLATION Dalia Castel DRAMATURGY Maya Weinberg LIGHT DESIGN Loïc Iten CHOREOGRAPHIC OUTSIDE EYE Yalda Younes ARTISTIC COOPERATION, PRODUCTION MANAGEMENT Matthias Püschner

A production by Anna Natt in cooperation with SOPHIENSAELE. Funded by the Hauptstadtkulturfonds. With the kind support of Theaterhaus Berlin Mitte. Media partner: taz, die tageszeitung.