Programme
Today | 20:00
Tomi Paasonen
Pas de Q
Tomi Paasonen-final-15
December 01 02 03 | 20.00
December 04 | 18.00
Tickets
Dance
Festsaal | 15/10 €

Pas de Q enters the classical ballet world to turn choreographic forms and traditions upside down and reinvent them. A queer ensemble of male and non-binary dancers
pushes movement, dance and queer aesthetics to the extreme. In a utopian science fiction world, the team fuses drag art and pointe dance into a labyrinth of imaginative perversions, beyond morality and shame. 

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Enad Marouf
In My Hand a Word
8U4A4888 landscape
December 09 10 | 20.00
December 10 | 17.00
December 11 | 18.00
Tickets
Hochzeitssaal | 15/10 €

In the scenic adaptation of his own text, the Syrian-German performance and video artist Enad Marouf deals with loss from a queer perspective: the loss of family, home and relationships, but also that of meaning and language. The audience enters a place where fragments overlap. Two figures move through scenes whose internal coherence continues to unravel through memories, anecdotes, and associative references.

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Melanie Jame Wolf
The Creep
01_AlexanderCoggin_BAL_MJW_HIGHRES copy
December 17 18 | 16.00
Performance

The Creep at feldfünf is the first in a series of installations by Berlin based choreographer and visual artist, Melanie Jame Wolf, in which she will enact her ongoing creep studies. It is a choreography between two figures – a cowboy and a mountain – embodying a poetic meditation on violence and storytelling.

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Jelena Stefanoska & Saša Asentić
Жизела / Giselle
PM_Sasa Asentic_Giselle_Foto_Marija Erdelji_4026
December 17 18 | 18.00
Tickets
Festsaal | 15/10 €

Жизела / Giselle uses dance and language to explore the similarities and differences between the artist Jelena Stefanoska and the tragic ballet character Giselle. The piece tells of the need to love and be loved – and, above all, of the desire and feeling to live a life with dignity.

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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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Lois Alexander Yeye

  • YEYE_Postermotiv_c_Chanel Kah Yin Liang
    © Chanel Kah Yin Liang
  • YEYE_120922_8
    © Chanel Kah Yin Liang
  • Yeye foto by kimani schumann 3
    © Kimani Schumann
  • Yeye foto by Kimani Schumann 2
    © Kimani Schumann
  • Yeye foto by Kimani Schumann
    © Kimani Schumann
Dance
2022 October 22 25 | 20.00
2022 October 23 | 18.00
Hochzeitssaal

Live-Premiere 

in English

October 24 | BiPoc-only: The show on October 24 is exclusively for people who position themselves as BIPoC. BIPoC is an abbreviation for Black, Indigenous and People of Color, i.e. people affected by racism or anti-Semitism. Including Black, Indigenous, (post-)migrant people as well as Sinti*zze, Rom*nja, Jews, Latino/a/x, East/South Asian, Hawaiian and Pacific Islander. etc. Everyone is invited to the other performances on October 22, 23 + 25.

Yeye pays homage to Yemayá, the goddess of the sea and motherhood in the Yoruba pantheon. In her latest performance work, created for the camera and now adapted to stage, choreographer and performer Lois Alexander explores the afterlife of slavery and the reverberations on our present.

In the novel Beloved, writer Toni Morrison, opens up reflections on love, trauma and memory when a mother is driven to commit the most unspeakable act. Influenced by Morrison’s writing style and drawing on her research into representations of Black mothers in mythology and religion, Lois creates her own language of blending personal narrative, historicity and spirituality. Looking specifically at icons such as the Black Madonna, Lois investigates the processes of syncretization, the blending of different religious views, and unveils their implications. Multi-layered tensions become palpable through the touching of, sensing with, and remembering through different materials, such as textile and sound.

Yeye incorporates these senses into an embodied patchwork to ways of attending to healing, and uses performance to practice strategies of refusal and resistance.Yeye is a deep reckoning of a modern era that is entangled with colonial histories, mothers and the ocean. What are the temporalities of a racialized body, one that is marked by visible and invisible wounds? What can be healing? Yeye explores memory, traces and notions of a motherland, moving through different levels of video, text and performance.

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.

The show will last 50-60 minutes. The performance uses English spoken language. The lighting in audience will be dark. The audience area is seated in the last row. In the rows in front, there are seat cushions on the stepped grandstand. There are two wheelchair seats and two beanbag seats in the front row, which can be reserved or purchased in the online ticket shop or at the box office, depending on availability. If you need a specific seat or a more relaxed admission due to visible or invisible disabilities, please arrive 20-30 minutes before the performance begins to take advantage of our early boarding offer.

Lois Alexander is a choreographer and dancer living and working in Berlin. She graduated from The Juilliard School with a Bachelor of Fine Arts in Dance in 2014 and worked in traditional German state theater before creating her own work in the independent free theater scene in Amsterdam and Berlin. Her first solo choreography Neptune has toured Europe through the Aerowaves Network. Lois is inspired by what Tina Campt describes as “textured identities” and uses the embodied nature of dance and performance to articulate an in-between, migratory state from black feminist perspectives.

CONCEPT, CHOREOGRAPHY, PERFORMANCE Lois Alexander SOUND Sea Novaa STAGE DESIGN Nina Kay COSTUME DESIGN Sarah Seini DRAMATURGY Jasco Viefhues CINEMATOGRAPHY Diara Sow, Kimani Schumann PRODUCTION MANAGEMENT Nick Germeys SOUND, VIDEO Julia Cremers PRODUCTION ASSISTANCE Ben Mohai ACKNOWLEDGEMENTS Marisa Godoy, Mateusz Szymanówka, das Sophiensaele-Team

A production by Lois Alexander in co-production with SOPHIENSÆLE. Funded by the Senate Department for Culture and Europe. Media partner: RosaMagtaz, die tageszeitung.