Today | 20:00
Tomi Paasonen
Pas de Q
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December 03 | 20.00
December 04 | 18.00
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
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

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
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December 17 18 | 18.00
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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Tanztage Berlin 2023
© 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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Search + Archive

Caroline Creutzburg + René Alejandro Huari Mateus Die Vielhundertjährigen

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    © Silke Briel
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    © Silke Briel
2022 November 26 29 30 | 19.00
2022 November 27 | 17.00


in German

Due to the Christmas market in Sophienstraße, the Sophiensaele cannot be accessed by car on 26 and 27 November.

It is compulsory to wear an FFP2 mask. Exceptions are made for visitors who are unable to wear an FFP2 mask for health/physical reasons and for visitors who communicate in sign language.

FILM-SCREENING | NOVEMBER 27 | After the show, Robotron – A Tech Opera by Nadja Buttendorf will be screened with an artist talk afterwards
After the show

Back to the future: In Die Vielhundertjährigen the audience is contacted by the only contemporary witnesses of a long-gone division between the biological and the digital. These several hundred-year-olds are now inhabitants of a post-digital world.

This time, Caroline Creutzburg's latest work was created in close collaboration with René Alejandro Huari Mateus. Starting from the question of what fantasies and desires are for the world, the artists and the ensemble, aged between 65 and 87, create their own science fiction narrative. Away from the typical totalitarian-apocalyptic images and narratives of the genre, the protagonists ask: What is digitality doing to us? Will we float or consist only of our eyes? Will we store the knowledge of the world in our DNA? Will we be able to print three-dimensionally from our fingers? Is the digital still in our bodies or has it disappeared into them? And how did we get here in the first place?

The piece focuses on self-determination and the transformative potential of aging. In doing so, the narrative breaks away from the assumption that aging is almost always associated with weakness and disappearance. Caroline Creutzburg and René Alejandro Huari Mateus evoke a counter-myth of technological progress on the body: aging becomes a hacking of time and identity.

The play explores the theme of ageing and tells a fictional story about the brain as an exo-organ.

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

The performance lasts approx. 60 minutes and uses German spoken and written language. It is suitable for an audience of 12 years and older. In some places it gets a bit louder. On stage, words are written on the wall. The words are "Ausgrabungsstätte Silicon Valley" and "(Nackt)Badestelle". However, the words are not essential for understanding the performance. In one scene, a few lines from an English song are sung. There is an interactive scene in which a performer approaches the audience in a friendly way. A person from the audience is asked to hold and weigh a brain made of Styrofoam.

The audience sits mostly in the dark. During the interactive scene, the lights in the audience turn on. The audience area is seated in the last row. In the rows in front, there are seat cushions on the tiered bleachers. There are two wheelchair seats and two beanbag seats in the front row, which can be reserved or purchased in the online ticket shop or at the box office, depending on availability. Due to the Christmas market in Sophienstraße, the Sophiensaele cannot be accessed by car on 26 and 27 November.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 entrance. 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 audience announcement will be made on the spot to draw your attention to it. Our evening staff will be happy to help you find the meeting point.

You can also find more information about accessibility here.

CAROLINE CREUTZBURG, born in East Berlin, initiates stage projects in which she explores the possibilities of figurative self-representation and displacement of subjectivities. She is always accompanied by the question of the supposedly banal, of implicit forms of address, of the values of entertainment and the emancipatory in showing and in watching. RENÉ ALEJANDRO HUARI MATEUS choreographs dances that celebrate the more-than-human, pursuing a naïve stubbornness: to defy the windmills of institutionalized discrimination, which in Germany occasionally allows some dances to be choreographed by some non-Germans. Caroline and René have already collaborated in Caroline's performance Woman With Stones and conducted workshops together with young people and senior citizens on self-expression and self-perception in digital spaces. 

CONCEPT, ARTISTIC DIRECTION Caroline Creutzburg CO-DIRECTOR René Alejandro Huari Mateus CO-DEVELOPMENT AND PERFORMANCE Margret Barra, Karin Krohn, Dita Rita Scholl, Christine Tischkau, Monika Zimmering CO-DEVELOPMENT Agyana Tosch COSTUME, EXO-ORGANS Artemiy Shokin STAGE David Reiber Otálora LIGHTING, TECHNICAL DIRECTION  Hannah Brown SOUND Fernando Quartana CONTRIBUTOR EDITOR Eva Königshofen OUTSIDE EYE Clara Reiner ASSISTANCE Luca Plaumann PUBLIC WORK Claudia Redka ARTISTIC PRODUCTION MANAGEMENT Carmen Salinas

A production by Caroline Creutzburg in co-production with SOPHIENSÆLE. Supported by the Senate Department for Culture and Europe of the State of Berlin, by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media within the framework of NEUSTART KULTUR and by the Cultural Office of the City of Frankfurt. Media partner: taz, die tageszeitung.