The lecture performance ˈhiər] Bodymind-Politiken & Crip History in und um die Sophiensæle während der Weimarer Republik uses sound clips that reproduce misanthropic, classist, (anti-Muslim) racist, misogynistic, queerphobic, and ableist content and language.

Duration

• Approximately 4 hours with several breaks

Language

• German spoken language, party English spoken language with German translation
• Song lyrics in Yiddish.

Audio description

• The event is accessible to blind and visually impaired audiences.
• There is a tactile guidance system.
• The preceding tactile tour/orientation in the room will take place at 2:30 p.m. The meeting point for the tactile tours is in front of the box office in the courtyard.
• If required, we offer a pick-up service for blind and visually impaired persons from the nearby S-Bahn and tram stations before the tactile tours. These are the Hackescher Markt S-Bahn station, the Weinmeisterstraße U-Bahn station, or the Weinmeisterstraße/Gipsstraße tram station. To use the pick-up service, please contact us during our business hours (Monday to Friday between 10 a.m. and 6 p.m.) at 030 27 89 00 35 or barrierefreiheit@sophiensaele.com.
• More information about audio descriptions and the pick-up service at the Sophiensaele can be found here.

Lighting

• The lighting in the room is most of the time bright enough to find your way around.
• There are no sudden changes in lighting.

Sound

• In some places, speech is amplified by a microphone.
• There are some tracks and live music with Ukulele.

Other

• There are contact persons on site for accessibility needs.
• Drinks and snacks are available.

Room

• Participants can take a seat at three tables in the room.
• There are chairs with backrests, beanbags
• two wheelchair spaces bookable 

Relaxed Event

• The event is a relaxed event.
• There is a quiet space at the back of the room. Beanbags, blankets, mattresses, pillows, headphones, and stimming toys are provided there.

Early Boarding

• There will be a soft arrival. All participants can arrive relaxed and get their bearings in the room before the event starts.

Artistic research: Lotta Beckers, Noam Brusilovsky, Lisa Schank, Vanessa Amoah Opoku, Steven Solbrig
Musical Contribution: Mazy Mazeltov aka Shlomi Moto Wagner
Artistical Contribution: Ren Loren Britton
Access dramaturgy: Leo Naomi Baur
Dramaturgical consulting for blind and visually impaired audiences: Annika Jakobs
Project management: Elias Capelle, Stefanie Hauser

A project by Sophiensæle. Funded by the Senate Department for Culture and Social Cohesion. Media partners: Missy Magazine, Siegessäule, taz.

Leo Naomi Baur (they/them) works in Berlin as a choreographer, video artist and access dramaturge. Baur is trans* non-binary and chronically ill. Initially without formal training, Baur has been involved in numerous productions and artistic research projects since 2017. They have since completed an MA in Performing Public Space at FONTYS (Tilburg, NL) and an MA in Choreography at HZT Berlin. They are a co-founder of the network for dance and activism Urgent Bodies. Baur’s artistic research focuses on Aesthetics of Access, with an emphasis on Relaxed Performance and access for audiences with chronic illness or chronic pain. Politically, Baur advocates for more mental, physical and social sustainability in production structures. Until March 2025, Baur was co-project manager of Making a Difference and is currently a freelance collaborator in Claire Cunningham's Einstein strategic professorship team at HZT Berlin.

Lisa Schank is a historian and history educator with a focus on the history of National Socialism. She has worked for the Buchenwald Memorial and the Nazi Forced Labor Documentation Center (Dokumentationszentrum NS-Zwangsarbeit), among others. Her projects include the creation of a digital educational portal on Nazi forced labor, the development of an exhibition on Nazi forced labor in Villingen-Schwenningen as well as educational materials, texts and editing for various institutions. She is interested in the contemporary communication of the history of National Socialism and the question of how connections between National Socialism and other periods can be researched in a differentiated way and made visible in a way that is relevant to the present.

Lotta Paula Mathilda Beckers (she/they) lives in Berlin and works as a dramaturge and artist. She studied Applied Theater Studies in Gießen, Choreography and Dance in Copenhagen and European Media Studies in Potsdam. She is currently part of the class for performative arts at the HGB Leipzig. As a dramaturge and co-author, she has a long-standing collaboration with theater director Noam Brusilovsky, with whom she develops documentary performances that question power structures and address the impossible in theater. She also regularly collaborates as a dramaturge and performer with choreographer Deva Schubert. Becker’s own artistic research revolves around the entanglements of desire and power. She is interested in the oscillation between the documentary and the poetic, the intimate and the public and the historical in the personal.

Noam Brusilovsky was born in Israel in 1989. After attending the Thelma Yellin High School of the Arts, he moved to Berlin in 2012 and studied theater directing at the Ernst Busch Academy of Dramatic Arts. While still a student, he directed his first radio plays for Deutschlandfunk and SWR. He received the ARD German Radio Play Award in 2017 for his production Broken German. In the same year, he completed his studies with the autobiographical solo performance Orchiektomie rechts. Since then, Brusilovsky has produced numerous radio plays for SWR, Deutschlandfunk, rbb and WDR and has directed at Sophiensæle, the Munich Residenztheater, Münchner Volkstheater, Schauspiel Stuttgart, Konzerttheater Bern and Stadttheater Klagenfurt. His work has received numerous awards, including the Nestroy Prize, the ARD German Radio Play Prize, the Radio Play Prize of the War Blind and the Prix Italia.

Steven Solbrig (*1984 in the GDR, pronouns -/all) studied cultural studies and aesthetic practice at the University of Hildesheim. Steven is currently working at the interface of art, culture and science. Solbrig develops lecture performances (Cripping Home), photographic series (Unmatched Touch), organizes symposia with others (Stating the Aesthetics of Access) and transdisciplinary works such as Soon We Will Be Legends?. This year saw the publication of a scientific-literary essay on the body politics of the GDR and on disability arts/culture in East Germany.

Vanessa Amoah Opoku is a German-Ghanaian interdisciplinary artist who explores history, digitality and marginalized narratives through mixed realities. She uses art, science and technology to challenge conventional notions of innovation and visions of the future. Her main artistic mediums include 3D scans, video, sculpture, performance and sound. Opoku has had solo exhibitions at EIGEN+ART Lab in Berlin, Synnika Frankfurt a. M. and HBS Research Center of the Times Museum Guangzhou. She has exhibited in institutions such as Belvedere 21 Vienna, Deichtorhallen Hamburg, Fotomuseum Winterthur and Staatstheater Nürnberg. She was recently nominated for the S+T+ARTS Prize 2025 by the European Commission and Ars Electronica. In addition to her artistic practice, Opoku teaches at the HGK Basel FHNW, Institute Experimental Design and Media Cultures (IXDM), among others. She lives and works in Berlin and Basel.

Ren Loren Britton is a trans*disciplinary artist-designer who reverberates with trans*feminism, technosciences, radical pedagogy and disability justice. Trans*feminist technoscience in their work follows the long wiggle of cyberfeminism; focusing on trans*, as in, transgender and trans*, as in, crossing contexts with feminist concerns. They are interested in the ways that socio technical systems & media makes lives accessible and pleasurable. Departing from the understanding that we live in an ableist white supremacist world, and therefore to be able to follow a justice oriented direction, their work begins from the assumption that we must rethink the terms of who fits where in all places, all scales, with what friction (or not) and why. This set of considerations brings them to their interest in disability justice which upholds and values all non-normative bodies and minds.
Ren holds a Master of Fine Arts from the Yale University School of Art and a Bachelor of Arts and of Fine Arts from Purchase College. Ren has held residencies at Sonic Acts, Künstler:innenhaus Büchsenhausen, MedienWerk NRW, Het Nieuwe Instituut, Sandberg Instituut, Rupert, Haus der Kulturen der Welt, Vilém Flusser Residency Program. Ren has shared artistic work within multiple institutions including Sonic Acts, MU Hybrid Art House, MACBA, Transmediale, HKW, Martin Gropius Bau, Schloss Solitude, Constant, ALT_CPH Biennale, Yale School of Art, Kunsthalle Osnabrück, Het Nieuwe Institute, Varia & Rupert. www.lorenbritton.com