With a focus on intensive bodywork, Jan Kress develops his own artistic language that combines sign language and dance. >>WATCH THE VIDEO HERE<<
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The Tanzscout team invites you to this AUDIO Tune-in & COLLAGE Wrap-up, with which we continue to connect dance pieces and audience members online.
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The works are part of an ongoing series by choreographer Isabelle Schad, in which she invites the audience to dive into a process of timelessness, closeness and contemplation. >>> CLICK HERE to watch the dance film Knotting which is re-released in the framework of Isabelle Schad's live shows.
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Jess Thom's Lecture Disability Culture in a Time of Pandemic and her talk Biscuits Without Borders with Noa Winter are now available as videos on demand. Both events took place during the performance festival Risk and Resilience in October 2020. >> WATCH VIDEOS HERE
After experiences in the European deaf performance community, Rita Mazza now presents her first choreographic work at Sophiensæle. Entering the stage as a playground, she explores the combination of dance and sign language movements and creates a whole new form of visual poetry. >>CLICK HERE FOR THE VIDEO
Vulnerability becomes a catalyst for a new body, language and care economy: Starting from the question of what expectations we have of hyperfunctional bodies on stage and in everyday life, the video work demands a place for unstable bodies - with all their risks and potentials, in the artistic field as well as in society.
During the pandemic, Rachel Bagshaw and her artistic team adapted the stage performance The Shape of the Pain for the screen. This process resulted in the 18-minute BBC feature Where I Go.
Accessibility is not only a human right, but an even more exciting creative tool: Rachel Bagshaw and Sophie Woolley share their experiences in the creative use of captioning and present some exercises to help other arts professionals in their own use and style development of captioning.
A digital conversation on Zoom with the artists of the productions Inflammations, A Crash Course in Cloudspotting, and The Shape of the Pain: They will address navigating an often ableist art sector and share what working methods and aesthetics they have developed.
In this immersive solo performance installation, choreographer Colette Sadler and visual artist Mikko Gaestel thematise the future of the human in relation to technology inside the virtual architecture of a 3D environment.
Many people classify themselves as belonging to society's "Mitte". But where exactly is that - somewhere between top and bottom, rich and poor? As part of a four-part live reality series, Turbo Pascal go in search of the diffuse categories and relationships that make up the so-called "Mitte". To do this, the collective looks around its own circle of family, friends and acquaintances.
There’s no business like show business. In their first performance evening together, Melanie Jame Wolf and Teresa Vittucci explore the problems and pleasures of: What does it take to make a show great?
As disabled artist-curators Kate Marsh and Noa Winter invite to conversations, practice, safer spaces and public sharings.
JULY 29 – AUGUST 01
Pain is rarely a subject on stage. The focus CRIPPING THE PAIN, which could not take place in June 2020 due to the pandemic and is now being rescheduled in digital form, presents artistic works, workshops and conversations that give space to this complexity and defy dominant ableist perceptions of the body.
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As disabled artist-curators Kate Marsh and Noa Winter invite to conversations, practice, safer spaces and public sharings.
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Age is just a number - nevertheless, we can't get around aging. In the midst of debates about climate change, identity politics and body images, it is time to renegotiate long outdated generational contracts. Thus, not only the recent pandemic has demonstrated that questions about responsibilities and solidarity have to be asked again. The performance festival COMING OF AGE, which will take place from September 15 to November 7 at the Sophiensæle, is dedicated to various aspects of aging in society - and looks at the different challenges of a phenomenon that affects us all.
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Our economic system and our planetary system are now at war. Or, more accurately, our economy is at war with many forms of life on earth, including human life. What the climate needs to avoid collapse is a contraction in humanity’s use of resources; what our economic model demands to avoid collapse is unfettered expansion. Only one of these sets of rules can be changed, and it’s not the laws of nature. – Naomi Klein, This Changes Everything: Capitalism vs. The Climate
Language pre-supposes community. Therefore without you, nothing I say has any meaning. – Kathy Acker
If you ask me what I want, I'll tell you. I want everything is a work in which Rosenfeld offers her body as a potential site of movement to be stored as a future sustainable energy source. Through relationality and exchange, and with echoes of a science fiction narrative, Rosenfeld has built a choreography with a group of intimate and inspirational bodies exploring questions of the future and labour of queer relationships and desire in the face of climate change. Even though the work’s propositions are disseminated through Rosenfeld's body, the piece challenges the futurity of individuation and the ideology of ‘the solo,' exploring the flesh in the wake of environmental decay. This work has been formed collaboratively with a collective effort of bodies and movements merged and stored within Rosenfeld’s own. Rosenfeld is a flesh-body serving as a material root of her own methodology, and producing a systmetic rupturing of movement and dance. When we are left with only our flesh as a natural resource, how can bodies stay sustainably useful together through movement and time?
If you ask me what I want, I'll tell you. I want everything is one of the final works in a two year creative body of research, in which Rosenfeld has been exploring and creating towards her first feature film Foxes. Through performance, short videos & films, drawings, collages and expanded cinema installations, Rosenfeld has been researching themes of queer desire, climate change, invisible genocide, and radical- positive apocalypse, which are all central themes in her upcoming film Foxes.
PERFORMANCE, CONCEPT, DIRECTION Liz Rosenfeld ARTISTIC COLLABORATION, OUTSIDE EYE Jared Gradinger, Rodrigo Garcia Alves LIVE MUSIC SCORE Ziúr LIGHT DESIGN Sandra Blatterer, Eva G. Alonso COSTUME DESIGN, SET DRESSER Stephane Moun TATTOO ARTIST Fercha Pombo CRYSTAL ARTIST Sadie Weis PHOTOGRAPHY Alexa Vachon VIDEO DOCUMENTATION Imogen Heath, Nadja Krüger PRODUCTION björn & björn
A production by Liz Rosenfeld in co-production with SOPHIENSÆLE. Funded by the Senate Department for Culture and Europe. The revival is realized with resources out of the Theaterpreis des Bundes. Media partner: taz. die tageszeitung
Photo © Rodrigo Garcia Alves
LIZ ROSENFELD is a Berlin-based filmmaker and performer who works with moving images and performance in order to convey a sense of past and future histories. Rosenfeld is invested in concepts of how history can be queered and experienced through the moment and the ways in which it is lived and remembered. Her solo performance, If You Ask Me What I Want, I'll Tell You. I want Everything, premiered at Sophiensaele In November 2017. Rosenfeld is part of the Berlin film production collective NowMomentNow, and one of the founding members of the food- performance group foodGASM, which explores the intersection of creative labor, food, and industry. She has already shown her work at the Sophiensælen, Hebbel am Ufer, C/O Berlin, Donaufestival Krems, and the Tate Modern in London.
