Sophiensæle

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Programme

Programme
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
Dance/Performance
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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March 31 | 19.00
April 01 | 19.00
Tickets
Performance
Festsaal | 15/10 €

A ventriloquist’s show of a different kind: In a dialogue with a chronically ill clap-mouthed puppet, Hendrik Quast explores the stubbornness of intestines. A relationship drama with scatalogical humor, parody therapy and ventriloquism unfolds between the ventriloquist and the sick doll. With tools of the performing arts, the events of chronic illnesses that often remain invisible are staged; opening up new humor spaces in which illness is no longer a taboo.

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April 01 02 | 17.00
April 04 | 20.00
Tickets
Hochzeitssaal | 15/10 €

Milliarden Jahre Widerhall was created after Naoko Tanaka’s travels to the contaminated area of Fukushima – a place where people’s connection to their habitat is forever destroyed. In a performative installation, Tanaka negotiates the ambivalent and conflicted relationship between humans and the earth, inviting us on a journey into inner landscapes.

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April 03 04 | 19.00
April 03 04 | 21.00
Tickets
Kantine | 15/10 €

Montag Modus: archive of futures presents a performance-installation set at the liminal space between film, dance and theater. Inspired by an encounter with three elderly dancers who were part of modern dance in Hungary in the 1930s, Figuring Age is a choreography of memories that explores how resilience, silences and traumas are inscribed in the body and in the movement.

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April 06 07 08 09 | 20.00
Tickets
Festsaal | 15/10 €

The choreographic concert We are going to Mars is dedicated to the history of the first African space program in Zambia. Created from video works by local artists in Uganda and the USA, it is being performed with live music by Mourning [A] BLKstar. 

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April 14 15
Tickets
Film/Video

The film version of The Making of Pinocchio is also available online as video on demand - for those who can't or don't want to come to the theater. The Making of Pinocchio is a queer re-appropriation of the tale of the lying wooden puppet who wants to be a “real boy”. Artists and lovers Cade & MacAskill reflect on MacAskill’s gender transition and their relationship. With their characteristic playful humour, The Making of Pinocchio moves skillfully between reality and fiction, fairytale and autobiography, the personal and the political. >> GO TO THE VIDEO VERSION

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April 14 15 | 19.00
Tickets
Festsaal | 15/10 €

The Making of Pinocchio is a queer re-appropriation of the tale of the lying wooden puppet who wants to be a “real boy”. In a technically innovative live film shoot, artists and lovers Cade & MacAskill reflect on MacAskill’s gender transition and their relationship. With their characteristic playful humour, The Making of Pinocchio moves skillfully between reality and fiction, fairytale and autobiography, the personal and the political.

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April 14 15 | 21.30
Tickets
Kantine | 15/10 €

The concert-performance accompanies the release of Astrit Ismaili’s first solo pop music album, produced by The Performance Agency in collaboration with Obsequeen, Lotic, Katu, Colin Self, Nömak, Europa and Mykki Blanco. The lyrics tell the story of a plant undertaking a physical and spiritual transformation to become the world’s First Flower. The project queers contemporary pop aesthetics and manifests how creativity can be a strategy to overcome existential limitations, echoing the artist’s own path.

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April 17 18 | 20.00
Tickets
Festsaal | 15/10 €

Sorour Darabi’s work engages with potentials of re-appropriation to uncover what is hidden by binary thinking. In a kind of futuristic mythology with roots in both visible and invisible, preserved and lost dance traditions, Natural Drama questions the concept of “nature”, exploring representations and constructions of the so-called female body.

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April 20 21 | 20.00
April 22 23 | 18.00
Tickets
Hochzeitssaal | 15/10 €

In this immersive work between performance and film, Liz Rosenfeld and their international, intergenerational team explore moments of change and transition. Through the story of the main protagonist, URSA, an unfillable hole, they reference the Greek myth of the constellations Ursa Major and Minor (the Big and Little Bear), while they consider their own bodies in transition.

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April 22 23 | 20.30
Tickets
Festsaal | 15/10 €

Untitled (Holding Horizon) is a choreography that continues Alex Baczyński-Jenkins’ engagement with negotiations of desire, the materiality of gestures, and affections of a queer commons. Through sensual, alienated gestures and the box step – a movement used in several social dances – synchronization, pleasure and alliance coexist with disorientation, limitation, and loss.

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April 27 28 29 | 20.00
April 30 | 18.00
Tickets
Festsaal | 15/10 €

There’s no business like show business. Melanie Jame Wolf and Teresa Vittucci ask: What does it take to make a show great? Both known for their intense solo work and powerful stage presence, the artists take a close look at popular entertainment, theater and the politics of spectacle. As a double act, they explore its tender intimacies, its power dynamics and the impact of audience and stage space on the show.

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April 28 29 30
May 01-08

Philosophiermaschine Online is an artificial intelligence that brings dead thinkers back to life. At the click of a button, the online audience enters into dialogue with Hannah Arendt, Karl Jaspers, Ernst Bloch and others, and can renegotiate their themes for the present: Freedom, dissidence, otherness, censorship, social utopia, hope - central concepts of postwar European philosophy.

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May 10 12 13 | 19.00
Tickets
Festsaal | 15/10 €

Every successful blockbuster needs a second part. For the Markus&Markus theater collective, that’s why TITANIC II has to take the stage. The sequel starts where the film left off: at the bottom of the sea. So, it needs sand, really a lot of sand. Every year, mankind consumes twice as much sand as all the rivers supply. The consequences of this overexploitation are tangible. TITANIC II is a collision course, a melodrama, a telegram from a sinking ship.

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May 11 12 13 14 | 21.00
Tickets
Hochzeitssaal | 15/10 €

Inspired by the made-up creatures and mythological figures of Acâibü’l-mahlûkat, Göksu Kunak explores notions of camouflage and self-censorship. This Persian cosmology book from the 13th century was translated to Ottoman and later in Turkish with a foreword of the current President. From a speculative perspective on the Middle East, Kunak examines (in)visibility and (in)concealment and the concept of taqiyya from Islam as hypercamoufl age.

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Company Christoph Winkler & Mourning [A] BLKSTAR We are going to Mars A Choreographic Concert

  • 04_we are going to mars_small
    © Jeff Musoke
  • 05_we are going to mars - small
    © Jeff Musoke
  • 06_we are going to mars small for Homepage
    © Jeff Musoke
Dance/Concert
April 06 07 08 09 | 20.00
Tickets
Festsaal
15/10 €
In English/few language

The choreographic concert We are going to Mars follows the two video works of the same name by the company Christoph Winkler, which celebrated their online premiere in November 2021: In a mixture of video, dance and music, the participating artists examined the history of the first African space programme in Zambia and its reception over the past 50 years. In addition, they build a bridge to the work of the Afro-American musician Sun Ra, who developed his credo “Space is the place” at the same time.

The Christoph Winkler Company is once again performing the complete soundtrack created especially for the project, in which the band Mourning [A] BLKstar takes up some aspects of the story. A sonic associative space is created in which the dancers now introduce their own movements. From these dance miniatures and in connection with the songs of the band, a free collage develops about the longing of the „Afronauts“ for Mars and what it can stand for.

In 1960, Edward Mukuka Nkoloso founded the Zambia National Academy of Science, Space Research and Philosophy. The goal: an African space program of its own to join the “Space Race” between the United States and the Soviet Union. On a remote farm, the “Afronauts” trained on homemade equipment. Together they created a rocket, the D-Kalu 1, and planned to launch it into space on October 24, 1964. The rocket was to be piloted by 17-year-old Matha Mwambwa, the only woman on the team. The attempt to launch an African space program was taken anything but seriously by the international press – until a video of the training surfaced ten years ago and triggered a change in perspective. To this day, it is not certain whether the project was a serious scientific endeavor, a joke at the expense of the colonial powers, or even a cover for a training camp for independence fighters. In any case, the term “Afronauts” stands today for a new self-confidence of black people, visible in the videos from the 60s.

LOIS ALEXANDER was born in California and is of African American, Filipino and Chinese descent. She began dancing at the age of 10. SYMARA SARAI JOHNSON was born in Portland (Oregon) and studied Caribbean folk dance and traditional Indian dance in Trinidad and Tobago. BRIA BACON, born in Rahway, New Jersey, is a versatile and accomplished dancer who is currently exploring the disciplines of performance, poetry and styling. OLUWAFEMI ADEBAJO is a native of Lagos, Nigeria. He is a multidisciplinary artist with more than 14 years of experience. RIDWAN RASHEED, also from Lagos, Nigeria, is a dance artist, artistic director, curator and choreographer. MOURNING [A] BLKSTAR from Cleveland is a collective of musicians*, writers* and multimedia artists*.

 

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 up until the day of the event. Therefore, if you find out after you have purchased your ticket that the performance is no longer accessible to you, you can contact us for a ticket return at ticketing@sophiensaele.com or 030 27 89 00 45 until 5 business days after the event (Monday through Friday between 10am and 6pm).

The performance lasts about 60 minutes and is in English spoken language. However, it is suitable for audiences without knowledge of English. There will be a lot of video projections. The live music reaches the volume of a concert and consists amongst other instruments of a trumpet and trombone. Hearing protection is provided at the entrance. The audience area on the grandstand is seated. There are two wheelchair spaces and one beanbag seat that can be reserved by phone or booked via the online ticket shop or at the box office, if available. Admission begins 20-30 minutes prior to show time. We recommend arriving early to select a suitable seat.

Click HERE to find information about our performance spaces and pathways, accessible restrooms, parking, directions to the theater, a 360° video tour of the building, and more.

CHRISTOPH WINKLER is one of Germany's most distinguished and versatile choreographers. His work covers a wide spectrum of formats and ranges from very personal to political themes. Under the umbrella of the "Company Christoph Winkler" he brings together dancers from all over the world to work together as temporary collectives on a broad spectrum of content. Since 1996, he has created more than 80 dance pieces as a freelance artist. In 2014 Das Wahre Gesicht won the FAUST Prize of the German Stage Association in the category "Best Choreography". In 2016, the FAUST Prize was awarded again to one of his productions when Aloalii Tapu was named "Best Dancer" for the solo Urban Soul Café. Winkler was also the initiator and curator of The Witch Dance Project and the FanFic Festival. In recent years, he has performed several musically inspired productions with great success, including Ernest Berk - The Complete Expressionist, Julius Eastman - Speak Boldly or We Are Going to Mars. In 2020 Christoph Winkler was awarded a George Tabori award, and in May 2022 he received the German Dance Award.

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Concept Christoph Winkler  Dance Lois Alexander, Symara Johnson, Bria Bacon, Oluwafemi Israel Adebajo, Ridwan Rasheed MUSIC Mourning [A] BLKstar VOCALS LaToya Kent, James Longs, Chimamaka Peculiar Palmer DRUMS Dante Foley TRUMPET Theresa May TROMBONE William Washington GUITAR, KEYBOARDS Pete Saudek BASS Elijah Vazquez DRUM MACHINES, SYNTHESIZER RA Washington COSTUMES Marie Akoury VIDEO CONTENTS Martin Böttger, Vadim Epstein VIDEO EDITING Gabriella Fiore TECHNICAL MANAGEMENT Fabian Eichner SOUND Björn Stegmann PRODUCTION MANAGEMENT Laura Biagioni

A production by Company Christoph Winkler in co-production with SOPHIENSÆLE. Funded by the Senate Department for Culture and Europe and by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media. The revival is supported by the Senate Department for Culture and Europe. Media partner: taz, die tageszeitung.

Specials

Specials
Festival

Queer Darlings 4

Grafik
© Jan Grygoriew

april 14–23

For the fourth and final time, Sophiensæle presents the popular spring festival series Queer Darlings, bringing old and new favorites to Berlin. The works of local and international artists deal with personal and socio-political moments of change, transformation, crisis and transition(s). To do so, they overwrite folk dances and narratives, fairy tales and myths from a queer perspective to create humorous, immersive, sensual and imaginative stage worlds beyond binary norms – and celebrate the potential of queer imagination for new visions of coexistence.  

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