JunE 14 | 22.00
Late-Night-Talk WITH Jen Rosenblit + Liz Rosenfeld
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EveryBody’s Fantasy explores erotic fantasies and questions how we look and experience them. The performance is inspired by Gertrude Stein’s 1937 Everybody’s Autobiography, after The Autobiography of Alice B. Toklas, written by Stein in 1933 in the guise of an autobiography. Considering the biographical, the life-lived as an accessible format for others to enter, visit or witness with care and understanding, this work looks toward what would happen, what we could anticipate happening again and the fantasy that rests just beside.
If gathering or the commons are something of the past, the work cultivates a perfume of “rehearsals for paradise” where gathering is not bound to inclusion or exclusion. We consider that place is where no one belongs but where many can exist. The work imagines a kind of temporary-holding in place of ownership, a way to take responsibility and take care inclusive of the ability to walk away, to depart, to end, to let a thing exist beyond our grasp, beyond our collection and maintenance of it. The work follows desire knowing that it is not bound to sense or sensibility.
If any questions remain from the following information, please feel free to contact Hannah Aldinger at email@example.com or 030 27 89 00 35. Please note that details may change by 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 firstname.lastname@example.org or 030 27 89 00 45 until 5 business days after the event (Monday through Friday between 10am and 6pm).
- 70 minutes
- English spoken language
- There is an object on stage that spins. It is a plexiglass plate. In one scene Jen stands on it (then it spins slowly). Towards the end of the performance it spins faster without a person on it.
- During the entrance it is bright in the audience.
- A section in the middle of the work, consists almost entirely of light. It is a kind of light show with gentle light changes and various lighting effects. This section uses lighthouse light (light that spins), stadium light (brightens the room) and light that looks like falling rose petals. It doesn't get very bright though.
- There is a moment when green flickering light is used.
- In one scene, the lighting in the audience brightens as a performer speaks directly to the audience.
- In one scene the song "Where Have All the Flowers Gone?" is sung. The song and conversations between the performers overlap at some points.
- Two synthesizers are used that produce deep basses, kicks, and high tones.
- At the end of the performance, the sound of the horn of a marching band is emulated. In this scene it gets loud.
- Seated grandstand
- 2 beanbag seats bookable according to availability
- 2 wheelchair seats bookable according to availability
- In one scene, the performers get very close to the audience. They sing the song "Where Have All the Flowers Gone?" directly in front of the first row of the tribune.
- In one scene, a performer speaks directly to the audience.
If, for artistic reasons, the door to the auditorium does not open until very shortly before the performance begins, there is the option of early boarding.
- Reservations can be made via the ticket telephone at 030 283 52 66, Monday to Friday from 4pm-6pm
- Via the online ticket shop
- At the box office
You can also find more information about accessibility here.
Concept, Creation, Text, Performance Jen Rosenblit Sound Composition, Performance Gerald Kurdian, Li Tavor Vocals Simone Aughterlony «Lazy Susan» Stage design Jonas Maria Droste Light design, Technical Direction Enrico Dau Yang Wey Light Operator, Light design adaptations, Technical Director Joseph Wegmann Jacket Design Sasa Kovacevic Production for creation Anja Weigl and Daniela Seitz / Culture on a budget Current Production Diana Paiva / High Expectations
A production by Jen Rosenblit in co-production with Tanznacht Berlin, Tanzquartier Wien, Arsenic - Centre d'art scénique contemporain. Supported by the Swiss Arts Council Pro Helvetia and SSA Société Suisse des Auteurs. Supported by the NATIONAL PERFORMANCE NETWORK Gastspielförderung Tanz, funded by the Federal Government Commissioner for Culture and the Media, and the Ministries of Culture and the Arts of the Federal States. Supported by Danse & Dramaturgie, an initiative of Théâtre Sévelin 36, in collaboration with Dampfzentrale Bern, Tanzhaus Zürich, TU Théâtre de l'Usine, ROXY Birsfelden. The guest performance within the frame of Leisure & Pleasure is supported by the Capital Cultural Fund. Media partners: Arts of the Working Class, Berlin Art Link, Kulturplakatierung, Missy Magazine, Rausgegangen, tip Berlin, taz.die tageszeitung.
Jen Rosenblit makes performances based in Berlin after many years in New York City, surrounding architectures, bodies, text and ideas concerned with problems that arise inside of agendas for togetherness. Rosenblit’s works lean toward the uncanny, locating ways of being together amidst (un) familiar and impossible contradictions. The methodology supports an expanse of meaning as it emerges between things and moves toward an unwinding and a possible collapse. Desire and sexuality linger as reoccurring points of departure without demanding a singular aesthetic or representation. Rosenblit is a 2018 Guggenheim Fellow, a recipient of a 2014 New York Dance and Performance “Bessie” Award, a 2023 La Becque (Vevey, CH) artist in residence and has collaborated with artists including Simone Aughterlony, Miguel Gutierrez, A.K.Burns and Philipp Gehmacher. www.jenrosenblit.net