November/December

Five premieres and five additional productions are scheduled for November and December at Sophiensæle.

Flinn Works & Afra Tafri Creations kick off with the premiere of No More! White Money. In this participatory performance about money, art, and power, six artists from India, Nigeria, Russia, the Netherlands, and Germany trace the flow of "white money"—funds distributed by European cultural institutions and festivals to the rest of the world.

Starting November 7, the focus shifts to the three largest global reinsurance players. The Markus&Markus theater collective delves into the calculated and conspiratorial world of risk matrices in the second installment of their documentary theater blockbuster trilogy: Matrix Reinsurance. This follows their previous work, Titanic II.

After presenting her film Jerk at Sophiensæle in September, Gisèle Vienne returns in November with her performance Crowd. Fifteen bodies radiating concentrated energy move in virtuosic slow motion. To a playlist curated by musician Peter Rehberg, featuring rave classics like Underground Resistance, KTL, and Jeff Mills alongside electronic pioneers such as Manuel Göttsching, the piece unfolds into an emotional state of exception. Learn more about the Gisèle Vienne project, created in collaboration with Haus am Waldsee and the Georg Kolbe Museum, here.

On November 21, Norwegian-Jamaican choreographer Harald Beharie makes their Berlin debut with a gripping solo performance driven by thunderous progressive rock. Drawing from the reclaimed Jamaican slang term "Batty Bwoy" (literally: Butt Boy) used for a queer person, Beharie creates an ambivalent and tension-filled piece oscillating between tenderness and cruelty.

In Haribo Kimchi, audiences are transported to a pojangmacha, a typical late-night street food stall in South Korea. Jaha Koo / CAMPO take us on a culinary journey that explores food culture as a form of language, revealing the underlying structures of society.

In Obelix Nutrix, Ania Nowak examines the intersections of care, mutual dependency, and power through the figure of the nurse. Inspired by Florence Nightingale, the performance weaves spoken word, soundscapes, and expressive costumes into a meditation on the ethics of care.