The Berlin music theatre group Hauen und Stechen presents its version of the opera Salomé. The production, based on an opera by Richard Strauss and a text by Oscar Wilde, alternates between music and dance. It is a film, a journey, a fair and a dance of death all in one.
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For his latest project, Hendrik Quast learns the art of ventriloquism in order to approach the chronic inflammatory bowel disease ulcerative colitis artistically. In conversation with the disease, new ways of speaking and images of chronic illness emerge, opening up unusual spaces of humor for the ill and healthy audience.
For a long time now, collective mourning and its rituals have been disappearing from public space. Golden Gate questions our normative perceptions of loss and mourning. What is queer grief and in what way can it become a collective movement of melancholy and resistance?
JANUARY 06-22
In tandem with emerging dance artists connected to our city, Tanztage Berlin 2022 continues to examine what keeps us together and tears us apart. After 2021 the festival took place exclusively online, its 31st edition returns as an extended offline and online program. Alongside the last year’s selection of performances, it includes new creations and discourse formats on power, protest, and empowerment. The work presented during Tanztage Berlin 2022 critically navigates the present by reimagining past and future encounters on the dance floor. While dealing with acute problems like power relations, surveillance, disembodiment, or climate change, it tunes into the social body, creating much-needed moments of awareness, connectedness, and self-determination. Unlike the 21st-century billionaire strategy of abandoning earth in a rocket ship or escaping into a parallel virtual universe, the festival chooses instead to stay with the trouble: to celebrate dancing together through the crisis and against despair.
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If the minimum distance of 1.5 meters cannot be kept, a face mask is obligatory.
Timeslots: 14.30 | 15.30 | 17.00 | 18.00
Duration: ca. 30 Minuten
Yes.
It was here by the trees, when you first said yes. To all of this, to me, to everything you loved and to everything your guts screamed at: tame this animal, teach me how to turn, this is the place I feel most vulnerable and most open in. Like a sleepy wound, you said, with tentacles growing into the sharp outside. One small scar to the left and a large one to the right.
Aj aj, scary sight.
Poor connection
Blue shaped nights.
Yes. is a tender walk, private music video and an invitation to travel to our oldest memory, playfully, carefully, carving out the wet patches and beasts that weave themselves out of our collective dream fabrics and into song. Yes. is a ritual and communal exercise in remembering and celebrating the times our guts opened up wilfully, allowing for a space to mourn the times we were broken in and fabulate stories and ways to say: yes.
I say yes to this.
I say yes to this.
I say yes to this.
I say yes to this.
In times of a pandemic, joint walks are very high in popularity. For weeks in spring, they were the only way to experience the public together. At the same time, distance and fresh air keep the risk of infection as low as possible. And yet every encounter also involves risks. It can create understanding, warmth and intimacy, but sometimes also incomprehension and conflict. Encounters can lead to both closeness and distance.
During the festival, we invite artists and audiences to encounter each other on 1:1 walks, thus offering all those who are not yet drawn back to the theatre spaces with the opportunity for an immediate exchange. What drives us? In times of physical distancing, the dialogue with an unknown opens new perspectives on our relationships.
ACCESSIBILITY INFORMATION
The walk takes about 30 minutes with two breaks of about 5 minutes each. It is possible to take one or more sitting breaks. Languages used are English and German spoken language. The topic of consent is touched, but no events of sexualized violence or the crossing of personal boundaries are explicitly mentioned. If the minimum distance of 1.5 meters cannot be maintained, a mouth and nose cover is obligatory. The information on accessibility will be constantly updated. If you have any questions or require further information, please contact presse@sophiensaele.com or 030 27 89 00 35.
Elischa Kaminer is a composer, performer and theatre maker based in London and Frankfurt. His work has been showcased at theatres, concert halls and festivals across Europe, the U.S., Canada and Korea. He has worked with choreographers, video, fine artists and performance collectives including LIGNA (Klasse Kinder!, 2018), Olivia Hyunsin Kim (Yellow Banana, 2019 and Miss Yellow and Me, 2017), CHICKS* freies performancekollektiv (WHAT THE FUCK, 2020, LOVE ME HARDER, 2018, GARDEN OF CHICKS*, 2018, SOFT SKILLS gonna bite, 2018), Pinsker and Bernhardt (PAARE SIND FEINDLICHE INSLEN, 2019) and Mayah Kadish (EE, 2019, SONG FOR NAOMI, 2018, TABLEAU VIVANT, 2016 and PREFACES, 2014). Performances include showcases at Muziekgebouw Amsterdam, KORZO Theatre Den Haag, Nationaltheater Mannheim, Schauspiel Hannover, Europâisches Zentrum der Künste Hellerau, Sophiensæle Berlin, LOFFT Leipzig, Kampnagel Hamburg, Mousonturm Frankfurt, Impulsefestival, Favoritenfestival, Wildwechsel Festival, Berlin Peforming Arts Festival, 918 Bathhurst Toronto, the Roy. O. Disney Hall Los Angeles and the Sungmisan Theatre Seoul.
WITH Elischa Kaminer
In Walking Distance is made possible with the support of the Capital Cultural Fund. Media partner: taz. die tageszeitung.
