Programme
HAUEN UND STECHEN
Salomé
Hauen und Stechen_Salome_c_Thilo Moessner_HP
January 27 28 29 | 20.00
January 30 | 18.00
Tickets
music theatre
Festsaal | 15/10 Euro

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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Athina Lange + Pawel Aderhold
Whatremainsofme
whatremainsofme_c_DorotheaTuch 02_HP
January 31 | 19.00
February 01 | 19.00
Tickets
Hochzeitssaal | 15/10 €

The way we perceive our reality is shaped by the language of our senses. But what happens when this fine interplay is disturbed? A search for traces of perception and experience.

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Hendrik Quast
Spill your guts
Pressefoto 26.11.21_21_SpillYourGuts_Plakat_2E01-01
February 03 04 05 | 19.30
February 06 | 17.00
Tickets
Performance
Festsaal | 15/10 €

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.

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Nima Séne
auf den weg zu mir / auf den weg zu dir
Nima Séne_c_Mayra Wallraff_ HP_quer
February 12 13 14 15 | 21.00
Tickets
Hochzeitssaal | 15/10 €

In auf den weg zu mir / auf den weg zu dir, Nima Séne traces the history and lyrical legacy of the poet and activist May Ayim.

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Olivia Hyunsin Kim / Ddanddarakim
History has failed us, but…
History has failed us but_Foto_Mayra Wallraff_0
February 13 14 15 16 | 19.00
Tickets
Festsaal | 15/10 €

History has failed us, but... deals with physical forms of protest and searches for a solidary togetherness while taking into account different bodies. Which narratives and images of resistance are remembered - and how are they told?

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Ania Nowak
Golden Gate
GoldenGate_©DorotheaTuch_9447
February 24 25 26 | 20.00
February 27 | 16.00
Tickets
Festsaal | 15/10 €

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? 

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Specials
Festival
Tanztage Berlin 2022
Tanztage HP mit Text schwarz
© Jan Grygoriew

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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About
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Kareth Schaffer Cassandra has turned 2

  • kareth-schaffer_c_gerhard-ludwig_hp
    © Gerhard Ludwig
  • kareth-schaffer_c_gerhard-ludwig_hp2
    © Gerhard Ludwig
  • kareth-schaffer_c_gerhard-ludwig_hp3
    © Gerhard Ludwig
Dance
2018 April 18 19 20 21 | 21.00
Hochzeitssaal
Deutsch + Englisch

Cassandra knows the future but no one believes her. In the first part of Cassandra Has Turned, three female performers predicted a whole array of possible futures, alternative pasts, larger and smaller catastrophes. Now they are setting their prophecies to sound in order to seep into our ears. What is even implausible, a truth or a lie? In a time of alternative facts isn’t every narrative justified as long as the rhetoric and performance fit?

ARTISTIC DIRECTION, CHOREOGRAPHY Kareth Schaffer PERFORMANCE, CHOREOGRAPHY Manon Parent, Lisa Vereertbrugghen, Cathy Walsh LIGHT DESIGN Joseph Wegmann SOUND DESIGN, COMPOSITION Alessio Castellacci VOICE COACHING, COMPOSITION Jara Holdert STAGE, COSTUMES Lena Mody ASSISTANCE STAGE, COSTUMES Olga Sonja Thorarensen INTERN STAGE + COSTUMES, SOCIAL MEDIA Flora Nacer TECHNICAL DIRECTION Michele Piazzi COMPANY MANAGEMENT M.i.C.A. - Movement in Contemporary Art / Cilgia Gadola INTERN MANAGEMENT Sofia Fantuzzi 

The libretto of Cassandra Has Turned 2 is based on the spontaneous speech acts produced in Cassandra Has Turned 1 by prophetesses Ilya Noé, Kareth Schaffer, and Lisa Vereertbrugghen.

Produced by Kareth Schaffer. Funded by Hauptstadtkulturfonds in co-operation with Tanzfabrik Berlin and the friendly support of teh residency schloss bröllin e.V. Funded by the Ministerium für Bildung, Wissenschaft und Kultur des Landes Mecklenburg-Vorpommern und dem Landkreis Vorpommern-Greifswald. Media partner: taz. die tageszeitung

M.i.C.A. - Movement in Contemporary Art
www.mica-berlin.com

KARETH SCHAFFER is a choreographer and performer: in her "post-postmodern" dance pieces she has so far examined prophecies, mud wrestling, thrillers, synchronised swimming, foley, emoticons and conversation formats, among others. Her most recent works include a diptych about the tragic heroine Kassandra (Cassandra Has Turned 1 + 2, 2018), a fan fiction piece about Angela Merkel (Merkel Dances, 2019) and a comprehensive investigation of foley, the dubbing of sounds in film, as a choreographic tool (Unheard Of, 2016). Schaffer is a Pina Bausch Scholar and was nominated by the Jahrbuch Tanz for the "Dancer of the Year 2018" award.

         

Foto © Gerhard Ludwig