Programme
Olympia Bukkakis
replay
klein_Olympia Bukkakis-Presse final-19
February 02 03 04 | 20.00
February 05 | 18.00
Tickets
Drag/Music/Dance
Festsaal | 15/10 €

replay investigates the formal relationships between movement and sound in pop, classical music, opera and drag. Drawing on her own biography, Olympia Bukkakis and her rebellious back up dancers raise questions about class and cultural hierarchies.

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Hausführung
Hausführung
February 03 | 17.00
Tickets
Various Locations | 5 €

If you want to get to know the history of Sophiensæle, join one of our guided tours. Regular guided tours are in German. English guided tours are available for groups of five people or more.

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Cora Frost/Rudy van Dongen/Peter Frost & Friends
Insel der Orgeln
Peter Frost_Presse_final-1237
February 11 | 20.00
February 12 | 18.00
Tickets
Hochzeitssaal | 15/10 €

Insel der Orgeln (Island of Organs) is a happening of dance, music, performance and installation and searches for experienced, repressed and dreamed concepts of life and survival. On the island, travelers bring together terrible and promising life stories to the polyphony of the organs in order to invoke the question of the healing power of the social family of choice.

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Alexandre Achour, Angela Alves, Diana Anselmo, Saša Asentić, Marko Bašica, Rita Mazza, Auro Orso, Perel & Dalibor Šandor
Dis Contact
February 15 17 19 | 19.00
Tickets
Festsaal | 15/10 €

Kontakthof by Pina Bausch is one of the most famous works of contemporary dance. In 2018, artist Dalibor Šandor wondered why Bausch never actually made a version with disabled artists. Dis Contact is a new work by artists belonging to communities and cultures that are systematically oppressed in the world where Kontakthof has a prominent status.

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Eva Meyer-Keller
OUT OF MIND
Eva Meyer-Keller_01_Foto_Harry Weber_quer
February 26 | 18.00
February 27 28 | 20.00
March 01 | 20.00
Tickets
Festsaal | 15/10 €

In OUT OF MIND Eva Meyer-Keller and her accomplices develop choreographic approaches to what we call consciousness and experience. She takes neuroscientific approaches as a starting point to undertake a dive into a slippery terrain of uncertainties and turns the theater space into an experimental laboratory in which more-thanhuman performers enter the scene as well.

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Jule Flierl
Time out of Joint
Web2_Time.out.of.Joint_Derin Cankaya
March 08 09 10 11 | 20.00
Tickets
Festsaal | 15/10 €

Time out of Joint is a grotesque variety show of political speeches and a virtuously cacophonous concert of feminist struggles of the 20th century. Applying the tactic of tactlessness, utterances by historically influential female* speakers are dissected, distorted and recomposed. Dancing bodies explore rhetorical strategies as questions of rhythmic (re)arrangement and make voice audible as the battlefield of political representation.

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Ist die deutsche Theaterwissenschaft (post)kolonial?
March 11 | 18.00
Kantine | Eintritt frei

What does the demand for a “decolonization of the University” mean for German-language theater studies? What could a post- or decolonial Theater Science look like in research and teaching? Together with contributors from the anthology Theaterwissenschaft postkolonial/decolonial, the editors Azadeh Sharifi and Lisa Skwirblies want to explore these questions.

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Vanessa Stern & Team
ToFuR® – Theater ohne Furcht und Reichweite
Vanessa Stern_Foto_Dietmar Schmidt_Presse
March 16 18 | 20.00
March 19 | 18.00
Tickets
Hochzeitssaal | 15/10 €

Vanessa Stern has lost her way. She cried out bravely: “Social media, you are my enemy!” and founded a knighthood (complete with cute ponies) to go into battle against the dark forces of Reach and Attention. Theater without clicks and shares and likes! Be there when no one is following us! Another world is possible.

» more

Claire Vivianne Sobottke
à mort – Ein choreografischer Liederzyklus für drei Stimmen
Claire Vivianne Sobottke-Foto_MayraWallraff_Presse_final-
March 22 23 24 25 | 19.00
Tickets
Festsaal | 15/10 €

à mort is a performative-musical exploration of processes of domination, dying and killing. Excessive scenes of destruction emerge in a memento mori inspired installation of natural and artificial materials. The female voice emerges as a powerful physical presence in a dying world, challenging the grotesque human desire for dominance.

» more

Hendrik Quast
Spill your guts
HendrikQuast_SYG_Foto_Florian_Krauss-0644
March 31 | 19.00
April 01 | 19.00
Tickets
Performance
Festsaal | 15/10 €

For his 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.

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Specials
Festival
Tanztage Berlin 2023
SOP_TATA23_1200x900_SILBER_Typo
© 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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Enad Marouf In My Hand a Word

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Dance/Performance
2022 December 09 10 | 20.00
2022 December 10 | 17.00
2022 December 11 | 18.00
Hochzeitssaal

PREMIERE

in English

Due to the Christmas market in Sophienstraße, the Sophiensaele cannot be accessed by car on 10 and 11 December. 

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.

For Syrian-German performance and video artist Enad Marouf, body and text act as central elements. His works have a unique poetic language of coexisting media; a temporality which allows to overcome potential boundaries of dance, text, video and installation.

The performance In My Hand a Word is based on the eponymous text by Marouf. In the text we follow a person who is watching their hand. The longer they gaze at their hand, the more the hand loose its meaning. In this context, the hand does not only carry a history of cultural symbolism, but also an embodiment of the self. The loss of meaning is just as mournful as it is liberating, since new understandings can be reconstructed of what is gone, a duality of loss and restoration therein emerges.

In his scenic adaptation of the text, Marouf focuses on loss from a queer perspective: the loss of family, home, and culture, but also the loss of meaning and language. The audience enters a place where fragments of movement, speech and music overlap. This place represents Marouf's fragmented memories of Damascus. Here, two figures move through scenes whose inner coherences are increasingly dissolved by memories, anecdotes and associative references. Offering the audience to find their own narratives within, to reinterpret and put this piece together through their own personal experience and sensibility.

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.

Genral: The performance lasts approx. 50 minutes and uses a small amount of language. A poem is spoken in English. Strobe effects, Black outs, blinding transitions and fading light, loud sounds and fog are used on stage. The audience gets blinded at some point.

Audience area: The lightening situation in the audience is rather dark. The audience area in the grandstand is seated. There are two wheelchair seats and two beanbag seats which can be reserved or purchased from the online ticket shop or box office, subject to availability.

How to get there: Due to the Christmas market in Sophienstraße, the Sophiensaele cannot be accessed by car on 10 and 11 December.

Early Boarding: 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 wish 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. 

ENAD MAROUF is a Syrian-German performance and video artist based in Berlin. His work focuses on body and text, using video, dance, language and installation as poetics and articulations of temporalities that affect our physicality and the way we narrate the world around us. He completed his Masters in Choreography and Performance at the Institute for Applied Theatre Studies in Giessen/Frankfurt. His solo works and collaborations have been shown at the Athens Biennale, Kunstenfestivaldesarts Brussels, Sophiensæle Berlin, Centre culturel Francais de Damas, Babel Beirut, Tate Modern London, Art Institute of Chicago, Shedhalle Zurich, among others.

CONCEPT, CHOREOGRAPHY, TEXT Enad Marouf PERFORMANCE BY AND WITH Ewa Dziarnowska, Steph Quinci MUSIC Billy Bultheel INSTALLATIVE SCULPTURES Enad Marouf ARCHITECTURAL SUPERVISION, FABRICATION Jim Scully COSTUME Grzegorz Matlag LIGHT Jacqueline Sobiszewski PRODUCTION MANAGEMENT Florian Greß

A production by Enad Marouf in co-production with SOPHIENSÆLE. Supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media as part of NEUSTART KULTUR and by the Berlin Senate Department for Culture and Europe. Media partner: taz, die tageszeitung.