Programme
Today | 20:00
Tomi Paasonen
Pas de Q
Tomi Paasonen-final-15
December 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
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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
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© 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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Michelle Moura Lessons for cadavers

  • Lessons for Cadavers_c_Mayra Wallraff 4
    © Mayra Wallraff
  • PM_Lessons for Cadavers_c_Mayra Wallraff 5
    © Mayra Wallraff
  • Michelle Moura-Lessons for Cadavers-69
Dance/Performance
2022 September 12 | 20.00
2022 November 12 14 15 | 20.00
2022 November 13 | 18.00
Festsaal

PREMIERE

In English

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.

We live in the midst of horror and we’re used to it. Forests on fire, people freezing in their houses without heating, families running across the border while others go shopping. Lessons for Cadavers inspires in the physical language of horror – its exaggeration and hyperbole – to reflect the living dead of the present. Death here is a magical and grotesque realm inhabited by strange forms of life; a transformation zone. Three dancers move on stage through panic and wonder, violence and fragility, driven by external forces.

For the authors Luiz Antonio Simas and Luiz Ruffino, “the opposite of life is not death, but disenchantment". In recent years, Brazilian choreographer Michelle Moura has observed how an extreme right-wing government in her home country spreads fear and hate. This fear becomes a political weapon – and a ghost that accompanies people's everyday lives. The choreographer, who presented her piece Overtongue as part of the Tanzplattform, also shows herself to be a master of the grotesque and artistic – and artificial – dissociation in her latest piece. In Lessons for Cadavers, she again manages to find humor and absurdity in the terrifying human condition.

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 performance lasts 60-75 minutes and uses English spoken and written language. On stage, several light objects hang from the ceiling. LED lights, strobes, flickering lights and projections are used. Some lights hang very low above the floor, others create shadows on the stage.

The audience area on the grandstand is seated. There are two wheelchair seats, which can be reserved according to availability or purchased in the online ticket shop or at the box office. 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 want 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

Michelle Moura is Brazilian by birth, currently living in Berlin. For several years she had explored strategies to generate psychological and physical changes in minimal pieces. Nowadays, she adds new layers to her work, interested in artificiality and dissociation of elements, she manipulates movement, expression, sound and speech. Her creations have been presented in international dance and performing arts festivals including Impulstanz (AU), Panorama (BR), HAU – Hebbel am Ufer (DE) and La Biennale di Venezia (IT). As dancer, she has worked with Lea Moro (CH/DE), Wilhelm Groener (DE), Vincent Dupont (FR) among others. She was a co-founder and member of Caulifower Miniglobal Artistic Community (2005 – 2012) together with 7 other Brazilian artists. Her performance Overtongue, which was created as part of Tanztage Berlin 2021, was invited as one of 13 productions to the Tanzplattform Deutschland 2022. 

CONCEPTION, CHOREOGRAPHY AND ARTISTIC DIRECTION Michelle Moura CREATION AND PERFORMANCE Clarissa Rêgo, Jorge De Hoyos, Michelle Moura DRAMATURGY AND CHOREOGRAPHIC ASSISTANCE Maikon K MUSIC AND SOUND DESIGN Kaj Duncan David LIGHT DESIGN AND STAGE Annegret Schalke COSTUME DESIGN AND MAKE-UP Thelma Bonavita ARTISTIC COLLABORATION Nina Krainer SEAMSTRESS Luciana Imperiano PRODUCTION MANAGEMENT ehrliche arbeit - freies Kulturbüro INTERNATIONAL DISTRIBUTION Something Great

A production by Michelle Moura in co-production with SOPHIENSÆLE, deSingel and Something Great. Funded by the Berlin Senate Department for Culture and Europe and Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media within the program NEUSTART KULTUR. With the support of ÉTAPE DANSE, a network of the fabrik Potsdam, Institut Français Deutschland/Bureau du Théâtre et de la Danse, La Maison CDCN Uzès Gard Occitanie, Théâtre de Nîmes and Mosaico Danza - Interplay Festival Turin. With the kind support of the French Ministry of Culture/DGCA, Landeshauptstadt Potsdam, Fondazione Piemonte dal Vivo, Lavanderia a Vapore Turin and KODA Kultur (DK). Residencies at PACT Zollverein (DE), fabrik Potsdam (DE) and Théâtre de Nîmes (FR). Media partner: taz, die tageszeitung.