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
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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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Thorsten Lensing Verrückt nach Trost

  • verrckt-nach-trost-2022-c-sf-armin-smailovic-006
    © Armin Smailovic | Vorne Sebastian Blomberg, Ursina Lardi, im Hintergrund André Jung und Devid Striesow
  • verrckt-nach-trost-2022-c-sf-armin-smailovic-009
    © Armin Smailovic | Ursina Lardi, Sebastian Blomberg
  • Verrückt nach Trost_ThorstenLensing_03_FotoArmin Smailovic
    © Armin Smailovic / Sebastian Blomberg als Taucher und Ursina Lardi als Oktopus.
  • Verrückt nach Trost_ThorstenLensing_01_FotoArmin Smailovic
    © Armin Smailovic | Felix (Devid Striesow) kitzelt seine Schwester Charlotte (Ursina Lardi) am Strand.
  • Verrückt nach Trost_ThorstenLensing_2_FotoArmin Smailovic
    © Armin Smailovic | André Jung als Orang Utan (im Hintergrund Devid Striesow, Ursina Lardi)
  • verrckt-nach-trost-2022-c-sf-armin-smailovic-005
    © Armin Smailovic | Ursina Lardi, Devid Striesow
  • verrckt-nach-trost-2022-c-sf-armin-smailovic-008
    © Armin Smailovic | André Jung, Ursina Lardi, Devid Striesow, Sebastian Blomberg
  • verrckt-nach-trost-2022-c-sf-armin-smailovic-002
    © Armin Smailovic | Sebastian Blomberg
Theatre
2022 September 30 | 19.00
2022 October 01 02 07 08 09 | 19.00
Festsaal
Auf Deutsch - in German

After the successful novel adaptations of Fyodor M. Dostoyevsky's The Brothers Karamazov (Friedrich Luft Prize for the best Berlin performance in 2014) and David Foster Wallace's Infinite Jest (Berlin Theatertreffen 2019), Thorsten Lensing has, for the first time, written his own play for the theater. More precisely, for his longtime companions, the actors Sebastian Blomberg, André Jung, Ursina Lardi and Devid Striesow.

The children Charlotte and Felix emerge from the sea and play as their dead parents on the beach. It's a ritual the two have been practicing for years. In memory of their parents' wild exuberance, they put sunscreen on their backs and tickle each other until they can hardly breathe. For brief moments,all sadness falls away from them. Again and again, however, the different needs of the two ten- and eleven-year-old siblings break into the game.

While the unbridled imagination of the children determines the first part of the production, the second part focuses on adult life. The siblings go their separate ways. Charlotte, as an octopus, meets a diver with a death-wish, who believes he can communicate with animals. Felix, on the other hand, tries not to get lonely, despite the physical numbness that has haunted him since the death of his parents.

The audience accompanies the characters over several decades, from childhood to old age, so that in the end they share common memories with them. In this evening of theater, the most intense reading experiences and the most intimate wishful thinking are brought to life. We encounter hungry babies in huge parking lots, injured pole vaulters, talking octopuses, divers with a death-wish, people who can't feel their own bodies, cows on slaughter day, nursing robots, and dying people waiting to pass in a nursing home. They are all driven by the fear of having lost their way and the great longing for the feeling of being properly alive.

The play has a duration of 3,5 hours including a break. The audience area on the grandstand is seated. There are two wheelchair seats and two beanbag seats, which can be reserved according to availability or purchased in the online ticket shop or at the box office. For questions or more information, please contact Hannah Aldinger at barrierefreiheit@sophiensaele.com or 030 27 89 00 35.

Tickets reserved by phone or e-mail must be picked up at the box office at least 3 days before the booked performance. Please note our box office opening hours.
(Link: https://sophiensaele.com/en/service/vorverkauf-und-reservierung)

It is mandatory to wear a medical mask. Exceptions to this rule are visitors who are unable to wear a medical mask for health/physical reasons.

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.

The German director Thorsten Lensing has astonished and provoked for the past three decades, but he feels like one of theater’s best-kept secrets. A new Lensing staging is a big deal — and worth waiting for. The production is full of unpredictable developments and arresting metamorphoses. Lensing and his actors tackle serious issues with a light touch. Even while examining grief and the craving for human connection, the production lands with ease, modesty and warmth. Throughout, the actors switch fluently between registers, from emotional rawness to slapstick to absurdist comedy, in performances that are closely observed, credible and moving. (The New York Times, A.J. Goldmann)

WITH Sebastian Blomberg, André Jung, Ursina Lardi, Devid Striesow DIRECTOR Thorsten Lensing CO-DIRECTOR Benjamin Eggers-Domsky STAGE DESIGN Gordian Blumenthal, Ramun Capaul COSTUME Anette Guther DRAMATURGY Dan Kolber, Thierry Mousset SOUND DESIGN Titus Maderlechner PRODUCTION MANAGEMENT Eva-Karen Tittmann PRODUCTION + STAGE MANAGEMENT Martina Schulle TECHNICAL MANAGEMENT Michael Klatt, Dirk Lutz DIRECTOR Anne Bickert COSTAIRS Nuria Heyck, Luisa Puschendorf

A co-production between the Salzburg Festival and Thorsten Lensing with SOPHIENSÆLE, Les Théâtres de la Ville de Luxembourg, Kampnagel Hamburg, Theater Chur, Asphalt Festival Düsseldorf, Pumpenhaus Münster, Mousonturm Frankfurt/Main. With the kind support of the Hauptstadtkulturfonds Berlin and the City of Münster. Media partner: taz, die tageszeitung.