Programme
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?
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.

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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.

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Thorsten Lensing Unendlicher Spaß

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    © David Baltzer
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    © David Baltzer
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    © David Baltzer
Theater
2018 February 22 24 25 | 19.00
2018 March 02 03 04 | 19.00
2019 May 04 | 19.00
2019 May 05 | 18.00
Festsaal
In German - with English Surtitles

For more than 20 years, director Thorsten Lensing has been showing his celebrated and renowned productions at Sophiensæle - a success story crowned by the invitation to this year's Theatertreffen!

David Foster Wallace's Infinite Jest, first published in the U.S. in 1996, is an attempt to narrate today's world in 1500 pages, without reducing it to a single interpretation. Wallace states, I want to write about how it feels to live today, instead of distracting people from it. Hence, Wallace finds himself writing about everything from the serious, to the trivial, to the bizarre: birth pangs and death throes, blizzards, stories of love and separation, phobic men, excessive salivation, nurses who seem to emerge out of a racy-nursewear catalogue, and birds having heart attacksin mid-flight.

In doing so, Wallace approaches both his comical and tragic characters with an unprecedented delicacy and earnest.As Wallace believes,jokes are often the bottles in which we send out the most plangent screams for someone to care and help.

Part of the staging will centre on the three brothers of the Incandenza family: Hal, a prodigiously intelligent and talented student at the Enfield Tennis Academy; and his elder siblings, Orin, the punter for the Arizona Cardinals, and Mario, a severely deformed and disabled filmmaker and passionate radio listener. Other characters appear, such as Joelle van Dyne, a veiled radio announcer and member of the Union of the Hideously and Improbably Deformed and Don Gately, a former thief and medicine addict from the drug rehabilitation centre Ennet House. All characters of the novel are helplessly at the mercy of life's hasards.

CAST Jasna Fritzi Bauer, Sebastian Blomberg, André Jung, Ursina Lardi, Heiko Pinkowski, Devid Striesow DIRECTOR Thorsten Lensing Co-DIRECTORBenjamin Eggers-Domsky STAGE DESIGNGordian Blumenthal und Ramun Capaul COSTUMES Anette Guther DRAMATURGY Thierry Mousset TEXT VERSION Thorsten Lensing COLLABORATION TEXT VERSIONThierry Mousset, Dirk Pilz  PRODUCTIONEva-Karen Tittmann STAGE DESIGN DIRECTORMartina Schulle TECHNICAL DIRECTORDirk Lutz ASSISTANT DIRECTOR Lucie Grünbeck, Luisa Puschendorf COSTUME ASSISTANCE Marie Fischer

A production by Thorsten Lensing in coproduction with Schauspiel Stuttgart, Schauspielhaus Zürich, Ruhrfestspiele Recklinghausen, Kampnagel Hamburg, Theater im Pumpenhaus Münster, HELLERAU – Europäisches Zentrum der Künste, Künstlerhaus Mousonturm, Les Théâtres de la Ville de Luxembourg and SOPHIENSÆLE. Funded by the Capital Cultural Fund and the City of Münster.

THORSTEN LENSING has been working as a freelance director since the mid-1990s. Since then he has produced and directed 15 theater performances. His productions are created as freelance productions in co-production with, for example, the Schauspielhaus Zurich, Schauspiel Stuttgart, Schauspiel Frankfurt, Berliner Festspiele, Grand Théâtre de la Ville de Luxembourg, Sophiensæle in Berlin, Theater im Pumpenhaus in Münster, Ruhrfestspiele Recklinghausen, Kampnagel Hamburg, deSingel in Antwerp and Volksbühne Berlin. Lensing's productions always feature top-class casts. He works with Ursina Lardi, Devid Striesow, André Jung, Josef Ostendorf, Viviane de Muynck, Ernst Stötzner, Lars Rudolph, Peter Kern, Sebastian Blomberg, Maria Hofstätter, Miriam Goldschmidt, Jasna Fritzi Bauer, Charly Hübner and Peter Kurth, among others, as well as with musicians Jean-Paul Bourelly, Phil Minton and Willi Kellers, cultural journalist Dirk Pilz and set designer Johannes Schütz. After the successful novel adaptations of Fyodor M. Dostoyevsky's The Brothers Karamazov (Friedrich Luft Prize for Best Berlin Performance in 2014) and David Foster Wallace's Infinite Jest (Berlin Theatertreffen 2019), Thorsten Lensing has written his first very own play for the theater with Verrückt nach Trost.

Fotos © David Baltzer / Agentur Zenit