Teresa Vittucci:
DOOM

In DOOM, the second part in the trilogy in praise of vulnerability, Teresa Vittucci invites the Composer and Performer Colin Self to explore the origins of The Female as described and created in Greek Mythology and the book of Genesis of the bible: EVE and PANDORA. The roles of Eve and Pandora, whose stories serve as cautionary tales about the threat of female knowledge to this day, have been paramount for the position of people assigned to the gender "woman" in all Christian Judaic and Abrahamic societies. The piece examines the two female figures, their paralleled fate, reception, narrative and impact from a critical and queer-feminist perspective. In a poetic exploration Vittucci and Self submerge themselves into the field of unknowing knowledge. Who is hurt when female curiosity meets the patriarchal structure? And what risk lies at the core of the decision to open one's eyes nonetheless?

The piece lasts about 60 minutes. It uses spoken English. The performance includes strong light effects, fog and loud music at times. Hearing protection is provided at the entrance. There is nudity in some scenes. 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. If you have any questions or need further information, please contact Gina Jeske at jeske@sophiensaele.com or 030 27 89 00 35.

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Teresa Vittucci (*Vienna) graduated from Vienna Conservatory, The Ailey School, Salzburg Experimental Academy of Dance (SEAD) and the University of Arts Berne where she received her Masters in Expanded Theater. Since 2013 she has been developing a solo performance practice through her works UNLEASH (2012), LUNCHTIME (2015), ALL EYES ON (2017) and HATE ME, TENDER (2019). She has collaborated with several artists and institutions including Staatstheater Mainz, Tanzhaus Zürich, Simone Aughterlony, Marie Caroline Hominal, Trajal Harrell, Gil and Nils Amadeus Lange, whith whom she made the duo U BETTA CRY (2013). Her works have been presented at Swiss Dance Days 2015 and 2019, Tanzhaus Zürich, Gessnerallee Zürich, les urbaines, brut Wien, Sophiensæle Berlin, Impulse Theaterfestival WUK Performing Arts, Manifesta 12 and several others. Teresa has received the ImPulsTanz danceWEB scholarship 2013 (Ivo Dimchev), the Foreign Study Scholarship of the Austrian Culture Ministry (BKA), the STARTstipendium scholarship from BKA as well as the TURBOResidency at ImPulsTanz 2014 and 2018. She was awarded the Recognition prize by the city of Zurich for her work as an outstanding performer 2018 and received the Swiss Dance Award for her piece HATE ME, TENDER in 2019. Teresa is Young Associated Artist (YAA!) at Tanzhaus Zürich. For her piece HATE ME, TENDER she has received the Suisse Dance Award. 

Colin Self (born in Oregon, USA) composes music, performance, and environments that expand consciousness and trouble binaries as well as boundaries of perception and communication. They work with communities across disciplines and use immaterial and material means – including voices, bodies, and computers – to interface with and reimagine worlds. Self is a frequent collaborator with artists including Holly Herndon, Martine Syms, Planningtorock, and Geo Wyeth. Their most recent commissions include THE WORLD TO COME, composed for Berlin’s State Orchestra in 2020, and TIP THE IVY, a semi-staged opera that premiered in Graz in February 2022. Self currently lives in Berlin.