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.
» more
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.
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.
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.
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.
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.
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.
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.
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.
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.
» more
The SOPHIENSÆLE are pleased to present their new management team starting with the season 2023/24. JENS HILLJE and ANDREA NIEDERBUCHNER have been recruited as artistic directors. KERSTIN MÜLLER will remain with the company as commercial director. Together, Jens Hillje, Andrea Niederbuchner and Kerstin Müller will manage the SOPHIENSÆLE as an executive team from July 1, 2023.
» more
By playing the video, I agree to Vimeo's privacy policy and thus also to the data transfer from Vimeo to the USA.
By playing the video, I agree to Vimeo's privacy policy and thus also to the data transfer from Vimeo to the USA.
CLICK HERE for safety and hygiene measures at the Sophiensæle.
The Hungarian-Serbian poet and performer Katalin Ladik is considered the “Yoko Ono of the Balkans” and a pioneer of noise and performance art in Southeastern Europe: With the “SoundBodyPoetry” of her radical body art performance UFO Party from 1969, she shook the artistic scene at the time and established methods of experimental voice work and physical performance already in the 1970s.
In their first collaboration, German sound dancer Jule Flierl and Slovenian choreo-vocalist Irena Z. Tomažin celebrate their shared interest in Ladik's artistic position: a homage that blurs the boundaries between poetry, acting and experimental voice work, while continuing the two artists' own research into the physical experience of language and the articulation of different layers of the voice.
JULE FLIERL studied contemporary dance at SEAD-SALZBURG as well as choreography at EXERCE Montpellier and has worked as a dancer with Bryan Campbell, Martin Nachbar, Ibrahim Quarishi, Gintersdorfer/Klaßen, Sergiu Matis, Tino Sehgal and Meg Stuart, among others. Flierl works with a somatic voice method, the "Lichtenberger Method", which explores through anatomy and imagination in relation to high frequencies and pre-musical tones. The friction between her training in diverse contemporary dance techniques and her vocal training paved the way for Flierl's choreographic works that explore voice as dance. STÖRLAUT (2018) reflects her research on Valeska Gert's sound dances of the 1920s. She is currently working with choreographer Antonia Baehr on the edit for the film Die Hörposaune.
IRENA Z. TOMAŽIN is a dancer, experimental singer and philosopher working in the experimental theater and music context. Her work has been the subject of analysis by Bojana Kunst (The voice of the dancer) and Sophie Herr (Geste de la voix et théatre du corps), among others, and her writings on vocal philosophy have been published in various art publications. She has released three albums: Crying Games, Taste of Silence and Lump in the throat. Her work is a consistent exploration of the non-linguistic voice as a medium in corporeal performance.
CONCEPT, CHOREOGRAPHY, PERFORMANCE Irena Z. Tomažin, Jule Flierl LIGHT Gretchen Blegen SOUND Nicola Ratti COSTUME Jean-Paul Lespagnard in collaboration with Muriel Kunkel and Marcelo Chavira HISTORICAL ADVISORY, DRAMATURGY Kata Kasznahorkai PRODUCTION MANAGEMENT Alexandra Wellensiek, Zavod Sploh Trailer Zavod Sploh Assistance Sharón Mercados Nogales
A production by Irena Z. Tomažin + Jule Flierl in co-production with SOPHIENSÆLE (Berlin), Zavod Sploh (Ljubljana), Charleroi Danse Centre chorégraphique de Wallonie-Bruxelles (Brussels), PACT Zollverein (Essen). Supported by the Capital Cutural Fonds. Thanks to: Ausland Berlin, Theaterhaus Mitte, Uferstudios, Eden/Dock 11, Maria Jerez, Mateusz Szymanówka, Lulu Obermayer, Luise Meier, Vera Pulido, Gaetan Rusquet, Adaline Anobile, Myriam van Imschoot, Marcus Berger, Antonia Baehr. Media partner: taz.die tageszeitung.
