Programme
Tomorrow | 20:00
Olympia Bukkakis
replay
klein_Olympia Bukkakis-Presse final-19
February 02 03 04 | 20.00
February 05 | 18.00
Tickets
Drag/Music/Dance
Festsaal | 15/10 €

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.

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Hausführung
Hausführung
February 03 | 17.00
Tickets
Various Locations | 5 €

If you want to get to know the history of Sophiensæle, join one of our guided tours. Regular guided tours are in German. English guided tours are available for groups of five people or more.

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Cora Frost/Rudy van Dongen/Peter Frost & Friends
Insel der Orgeln
Peter Frost_Presse_final-1237
February 11 | 20.00
February 12 | 18.00
Tickets
Hochzeitssaal | 15/10 €

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.

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Alexandre Achour, Angela Alves, Diana Anselmo, Saša Asentić, Marko Bašica, Rita Mazza, Auro Orso, Perel & Dalibor Šandor
Dis Contact
February 15 17 19 | 19.00
Tickets
Festsaal | 15/10 €

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.

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Eva Meyer-Keller
OUT OF MIND
Eva Meyer-Keller_01_Foto_Harry Weber_quer
February 26 | 18.00
February 27 28 | 20.00
March 01 | 20.00
Tickets
Festsaal | 15/10 €

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.

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Jule Flierl
Time out of Joint
Web2_Time.out.of.Joint_Derin Cankaya
March 08 09 10 11 | 20.00
Tickets
Festsaal | 15/10 €

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.

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Ist die deutsche Theaterwissenschaft (post)kolonial?
Titel Theaterwissenschaft Postkolonial
March 11 | 18.00
Kantine | Eintritt frei

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.

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Vanessa Stern & Team
ToFuR® – Theater ohne Furcht und Reichweite
Vanessa Stern_Foto_Dietmar Schmidt_Presse
March 16 18 | 20.00
March 19 | 18.00
Tickets
Hochzeitssaal | 15/10 €

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.

» more

Claire Vivianne Sobottke
à mort – Ein choreografischer Liederzyklus für drei Stimmen
Claire Vivianne Sobottke-Foto_MayraWallraff_Presse_final-
March 22 23 24 25 | 19.00
Tickets
Festsaal | 15/10 €

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.

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Hendrik Quast
Spill your guts
HendrikQuast_SYG_Foto_Florian_Krauss-0644
March 31 | 19.00
April 01 | 19.00
Tickets
Performance
Festsaal | 15/10 €

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.

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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.

» more
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Queering the Crip, Cripping the Queer Pelenakeke Brown Enter // Return

  • enter_return_c_Pelenakeke Brown 2
    © Jessica Palalagi, Pelenakeke Brown
  • Pelenakeke Brown-Foto_MayraWallraff-12
    © Mayra Wallraff
  • Pelenakeke Brown-Foto_MayraWallraff-27
    © Mayra Wallraff
  • Pelenakeke Brown-Foto_MayraWallraff-34
    © Mayra Wallraff
  • Pelenakeke Brown-Foto_MayraWallraff-65
    © Mayra Wallraff
  • Pelenakeke Brown-Foto_MayraWallraff-80
    © Mayra Wallraff
Performance
2022 September 09 10 | 18.00
Festsaal

Premiere 

in English and Sāmoan

The performance on September 09 is with German audio description with a preceding touch tour for blind and visually impaired persons.

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.

For the first time in Germany, the festival Queering the Crip, Cripping the Queer presents a work by the Sāmoan/Pākeha artist Pelenakeke Brown. As a radical act, Pelenakeke places the queer, crip, indigenous body at the center of the performance. The piece follows associations around the two titular terms of Enter and Return, which she links to Indigenous concepts of space and time. At the same time, the words stand for two of the most important keys on the computer keyboard, giving us the opportunity to enter digital spaces. During the pandemic, inside spaces and home became much more than a place to shelter for many people: their own four walls were suddenly a sanctuary from the precarity of the outside world, where the Internet often acted as a portal. Thus, Pelenakeke Brown searches for the location of the queer, indigenous, and crip body in (digital) space. At the same time, the piece explores questions about social notions of dance and movement. With her collective of disabled artists, Pelenakeke Brown takes a new look at aesthetics and the art of the disabled body in this interdisciplinary performance.

The festival Queering the Crip, Cripping the Queer takes place in cooperation with the Schwulen Museum, which presents the exhibition of the same name from September 1 to January 30, 2023, and questions the fantasy of the ideal body with artworks by 24 international contemporary artists.

Download the Complete Festival Programme

The performance lasts approximately 50 minutes and is in English and Sāmoan spoken language. The text is available in written form from the admission staff. A smoke machine is deployed at the beginning and end of the performance. The show uses surround sound and live music (drumming and clapping), whereby the drumming can get very loud. If you are sensitive to noise, we recommend seats on the outer edge and earplugs (available from the admission staff). Some scenes take place in almost complete darkness. Throughout the performance, fast-moving, circling and from time to time distorted animations are projected on the floor as well as on angled banners hanging from the ceiling. In one scene, an object is swung like a lasso at a safe distance from the audience.

There is an audio description in German spoken language on September 09 with a preceding touch tour for blind and visually impaired persons. The touch tour starts 75 minutes before the show. The meeting point is at the box office in the Sophiensaele courtyard. Ticket reservations are accepted by Hannah Aldinger at barrierefreiheit@sophiensaele.com or by calling 030 278900 35. If required, we offer a pick-up service for blind and visually impaired people from the nearby S-Bahn and U-Bahn stations Hackescher Markt and Weinmeisterstraße. To make use of the pick-up service, please contact us during our business hours (Monday to Friday between 10 am and 6 pm) at 030 27 89 00 30 or barrierefreiheit@sophiensaele.com.
 
The performance is a Relaxed Performance. Relaxed Performances welcome all visitors for whom sitting still for long periods of time in the theatre is a barrier (for example autistic people, people with Tourette's, learning difficulties or chronic pain). Noises and movements from the audience are very welcome. Visitors can leave and return to the auditorium at any time.
 
The audience area on the grandstand is seated. There are four wheelchair seats and four beanbag seats, which can be reserved according to availability or purchased in the online ticket shop or at the box office. Persons with disabilities receive reduced tickets at a price of 10€ plus one free ticket for an accompanying person. For questions or more information, please contact Hannah Aldinger at barrierefreiheit@sophiensaele.com or 030 27 89 00 35.

COVID-SAVE | In order to ensure greater safety distances, the auditorium is only filled to 70% of its capacity. The Sophiensaele team and the artists test themselves daily.

 

Pelenakeke Brown is an interdisciplinary artist, curator, and writer, Pelenakeke’s practice explores the intersections between disability cultural concepts and Sāmoan cultural concepts. Her work investigates sites of knowledge, and she uses technology, writing, poetry, and performance to explore these ideas.  She has worked with The Metropolitan Museum of Art, Gibney Dance Center, The New York Library for the Performing Arts and other institutions globally. Selected residencies include Eyebeam, The Laundromat Project, and Dance/NYC. Her work has been featured in Art in America and The New York Times. She was recognised in 2020 with a Creative New Zealand Pacific Toa award. 

IMOGEN ZINO is a designer and maker based in Auckland, New Zealand with a background in digital, industrial, jewellery and textile design. This allows her to draw from a range of disciplines and create unique and engaging experiences. Her works are intuitive and tactile in nature; delving into the relationship between body, surface and environment. Her work has been featured in and/or showcased at: Surface Design Journal (USA), Hello May (Australia), Architecture Now (NZ), Artzone (NZ) , The Dowse Art Museum (NZ), Artnow (NZ), The Big Idea (NZ), ECC New Zealand, Craft Aotearoa, Best Awards, Cafe L’affare, Design Assembly, Atelier Jones Design, NZ Festival of Architecture (2019), Re News, The Centre of Design Research, Good Health Design, Design for Health Journal, St Paul St Gallery & Thistle Hall.

Jesse Austin-Stewart is a sound artist based in Te Whanganui-a-Tara Wellington, Aotearoa New Zealand. He is a composer, sound artist, producer, and academic and is currently completing his PhD at Massey University exploring barriers of capital to spatial audio. As a sound artist, Jesse creates works that explore ways to make the field of spatial audio more inclusive. This creative practice often explores the intersection of spatial audio and disability and hearing, while also acknowledging barriers of finance and education. He has written works for contemporary dance and film and composed and curated performance art works and sound installations, among other works which have been exhibited in Aotearoa New Zealand, Japan, Australia, Czech Republic, Greece, Sweden, and France. As a producer and audio engineer, he has recorded work for short films, orchestra, solo artists and bands, small ensemble, opera, and various other configurations.

Concept, Performer, Audio Visuals Pelenakeke Brown Live Sound Performer Deborah Lagaaia Paulo Dramaturg Anapela Polata’ivao Producer/Production Manager Nahyeon Lee Performance Design Imogen Zino Lighting Design Paul Bennett, Elliott Cennetoglu Sound Design Jesse Austin-Stewart Taonga Pūoro Rob Thorne (Ngāti Tumutumu) Drumming Expert Leki Jackson-Bourke Recorded Vocals Joanna Mika-Toloa Production Support Jessica Palalagi Animator Jade Paynter AUDIODESCRIPTION Agnieszka Habraschka, Gerald Pirner

A production by Pelenakeke Brown with support from Q Theatre, The Basement Ideas in Residence,Auckland New Zealand, and SOPHIENSÆLE. Supported by Creative New Zealand and the Leslie-Lohman Museum of Art, New York. The guest performance is made possible by funding from the Senate Department for Culture and Europe as part of the festival Queering the Crip, Cripping the Queer. Media partner: taz, die tageszeitung.