Thu

27.2.

20:00 Premiere
Ayat Najafi and Arta Atelier Kollektiv

Fri

28.2.

Sat

1.3.

20:00 + artist talk
Ayat Najafi and Arta Atelier Kollektiv

Sun

2.3.

Thu

6.3.

20:00 Berlin Premiere
Unread archives | آرشیو‌های خوانده نشده

Fri

7.3.

20:00
Unread archives | آرشیو‌های خوانده نشده

Sat

8.3.

20:00
Unread archives | آرشیو‌های خوانده نشده

Sun

9.3.

18:00
Unread archives | آرشیو‌های خوانده نشده

Fri

28.3.

19:00
Katrin Hylla

Sat

29.3.

16:00
Katrin Hylla

Mit Wirkung 4+5: Mit Uns

The Mit Wirkung events in March honor the different voices and perspectives in the fight against anti-semitism, anti-muslim racism and oppression. Join us on 22.03. for a creative Iftar evening. The 23.03. invites young audiences and families to take part.

Soft Arrival: Between 14:00 and 14:30, visitors can slowly arrive in the room. Breaks are scheduled approximately every 45′. Each break lasts 15′.

The Event is part of »Mit Wirkung. Eine Relaxed Veranstaltungsreihe über intensive Themen«.

Mit Wirkung III: Mit Machen

An evening for knowledge exchange, joint learning, and respectful dialogue.

On the third evening of Mit Wirkung, the audience is invited to engage with the question of what would be necessary for an equal Germany. Building on the Mit Wirkung events in December and the exchange on existing resolutions, Mit Machen is an exercise in speculative thinking. In small groups, facilitated and guided by experts from different fields, participants are invited to share knowledge, ideas and questions in order to envision a just society and draft ideas for the protection of all marginalised life in Germany.

With:
Mehmet Arbag u. Anna Sabel (Verband binationaler Familien und Partnerschaften Leipzig), Sisi Bo’wale, Tabea Böker (KIgA), Dr. Dörthe Engelcke, Dr. Agata Lisiak

 

Soft Arrival: Between 18:00 and 18:30, visitors can slowly arrive in the room. Breaks are scheduled approximately every 45′. Each break lasts 15′.

Accessibility Information

If you have any questions regarding accessibility, please contact Agnieszka Habraschka. Agnieszka will be present at the event as the Access Person and will assist you with any questions or needs related to accessibility.

All groups work on the first floor and are accessible without stairs.

General Information on Content and Sensory Cues

The event will focus on antisemitism and anti-Muslim racism in Germany.

All groups involve participant engagement through discussions or sharing the results of group work in smaller or larger settings (only if desired). There will be increased noise levels during group work in the main hall! There may also be food smell during group work.
Detailed content notes, sensory cues for each group session, and allergen information for the catering are provided below.


Relaxed Event

The event will take place in a relaxed atmosphere.
Various forms of attention are welcome. There will be different seating options, sensory toys*, blankets, drinks, and food (including gluten-free and vegan alternatives). You are free to move around, participate sitting or lying down, and use sensory toys*. You can take breaks independently and come and go as needed.

Seating Options
Chairs, bean bags, cushions, carpets

Quiet Room
There is a quiet room with bean bags, lying options, blankets, and sensory toys*.

*Sensory toys are small, calming objects such as stress balls, putty, or fidget rings that particularly help neurodivergent people regulate their nervous system.

What is a Relaxed Event?
Relaxed events are based on the format of a Relaxed Performance and aim to provide accessibility, particularly for neurodivergent individuals, people with chronic illnesses/pain, and those with invisible disabilities. In these events, accessibility is not an afterthought but an integral part of the event concept. Just like in theater performances, there are often implicit behavioral expectations at events that make it difficult for neurodivergent people or those with chronic illnesses/pain to fully participate. Examples include expectations to sit still, move little, or not take breaks independently. These conventions can hinder participation for many people. The aim of the relaxed event format is to eliminate these rules/expectations.
Additionally, relaxed formats offer a sensitive approach, especially for emotionally charged or trauma-related topics. At the beginning of each event, we will share various body exercises with you, designed to calm the central nervous system, which you can perform individually or as a group.

Additionally, relaxed formats offer a sensitive approach, especially for emotionally charged or trauma-related topics. At the beginning of each event, we will share various body exercises with you, designed to calm the central nervous system, which you can perform individually or as a group.

Content Notes / Sensory Stimuli / Allergens

Mehmet Arbag and Anna Sabel
Text and Audio in German, conversation in German
During the group work, a text and an audio file will be listened to together, followed by a discussion.

Text: “And what else is there to say about Antisemitism among Muslims?”

Content Notes:
-It addresses the racist claim that Muslim people are antisemitic.
-It explores how anti-Muslim racism and antisemitism are interconnected.
-The text discusses how people are treated differently based on their perceived religion or culture, using examples like circumcision and fasting.

Audio: Securitization

Content Notes:
-It focuses on racism and how certain groups are constructed as a threat.

-The contribution discusses the effects of security measures.
-People resist unjust security measures.

Sensory Stimuli:
-The audio file is approximately ten minutes long.
-Multiple voices alternate in the audio file.

Sisi Olubowale – Collage Against the Machine
Conversation in English/German.
During the group work, participants will collaboratively create a collage.

Content Notes:
-In the group work, participants reflect on personal or collective thoughts and emotions related to equality, collaboration, and the creation of an equal society in the context of anti-Muslim racism and Antisemitism in Germany.
-The activity encourages participants to work with newspapers and create collages, which may potentially include images of conflicts, wars, and violence.

Sensory Stimuli:
-Participants will work with scissors and glue.
-Possible sounds of paper being cut or torn.

Agata Lisiak
Texts in English/German, conversation in English.
During the group work, two texts will be read and discussed together.

Text 1: Ursula K. Le Guin – “The Ones Who Walk Away From Omelas”

Content Notes:
-Descriptions of abuse, neglect, and extreme suffering of a disabled child.
-Ableist language.
-Exploration of the moral dilemma between the collective well-being and the suffering of a single individual.

-Examination of social injustice and the ethics of sacrificing an individual’s suffering for the greater good of society.
-Reflection on society’s responsibility for the suffering of its most vulnerable members.
-Mention of intoxication and psychoactive substances
-Use of irony.

Text 2: Rosa Luxemburg – “Die Ordnung herrscht in Berlin”

Content Notes:
-Discussion of the political situation and violent events after World War I in Berlin.
-Discussion on the brutal suppression of the Spartacist uprisings and the role of the social democratic government.
-Graphic depictions of violence, murder, and brutal repression.
-Themes of war, political violence, and oppression.
-Mention of weapons.

Dr. Dörthe Engelcke
Texts in German/English, conversation in German with English translation.
During the group work, a statement and two definitions of Antisemitism will be read and discussed.

Statement on the Bundestag Motion Adopted on January 29, 2025: “Decisively Countering Antisemitism and Anti-Israel Sentiment in Schools and Universities, and Securing the Space for Free Discourse”

Content Notes:
-Critical analysis of the proposed Bundestag resolution on combating Antisemitism and anti-Israel sentiment in schools and universities.
-Thematic focus on the isolation of Antisemitism and the neglect of other forms of discrimination, specifically anti-Muslim, anti-Palestinian, and general racism.
-Discussion on the one-sided focus on the Jewish population in Israel and the neglect of the history of the Palestinian population.
-Criticism of the potential restriction of academic freedom and discourse due to security discourses and potential censorship of critical positions.

Jerusalem Declaration on Antisemitism

Content Notes:
-Definition of Antisemitism.
-Mention of discrimination, prejudice, hostility, or violence against Jewish people.
-Description of antisemitic stereotypes, such as the idea of a Jewish world conspiracy or the “invisible power” of Jewish people.
-Distinction between legitimate criticism of Israel and antisemitic statements, particularly in the context of Israel and Palestine.

IHRA Definition of Antisemitism

Content Notes:
-Definition of Antisemitism.

-Mention of hate speech, incitement, defamation, or violent acts against Jewish people.
-Special emphasis on criticism of Israel that may be classified as antisemitic.

Tabea Böker – Solidarität_en & Utopie
Writing in any language, conversation in German/English.
During the group work, both small group and large group work will be carried out. Writing, open conversations, and role-playing are possible.

Content Notes:
-Use of emotion cards, i.e., cards that visually represent emotions.
-Engagement with the concept of solidarity and its practical implementation.
-Discussion of potential conflicts of goals within solidarity movements.

-The exchange is open and dependent on what the participants wish to share. Therefore, it is not possible to provide concrete content notes for the group. Potential topics that may be addressed include:
*Experience with repression.
*Experiences with antisemitism.
*Experiences with racism, especially anti-Muslim racism.
*Experiences with insecure residency conditions and criminalization.
*Thematic exploration of oppression and marginalization.
*Reflection on (societal) exclusions.

Sensory Stimuli:
-The group work will involve working with visual emotion cards.

KÜFA

Allergens:
-There will be bread with gluten, but also a gluten-free alternative
-Milk and soy yogurt
-Broccoli
-Peas
-Garlic
-Thyme

Spaces and WC

There is continuous, step-free and level access (incl. kerb ramp) from the street to the building and to the hall with a width of at least 150 cm. The floor surface in the courtyard is slightly uneven.
The event takes place in the hall, which is at ground level.
The hall is entered through a 194 cm wide double door. Then there is a second double door, which has an entrance dimension of 180 cm. The third double door, through which the audience enters the hall, is 136 cm wide.
There is no elevator.
Unfortunately, the bar can only be reached via a staircase on the second floor and is therefore not accessible for wheelchair users. There are 17 steps between the first floor and the second floor.
There is space for wheelchairs or walking frames in the event hall/area and there is the option of reserving a particularly suitable seat and/or entering the hall early.

Accessible WC
There is a wheelchair-accessible toilet on the first floor of the building. Access to this toilet is via the corridor and is 198 cm wide. The entrance to the toilet is 79 cm wide.

How to reach us

The nearest stop is U-Bahnhof Eberswalderstr.
The underground station has an elevator. The subway station is located at an intersection with a lot of car and pedestrian traffic.
From there, parts of the path to Ballhaus Ost lead over cobblestones.
The entrance to the theater is through the archway in the courtyard of the building at Pappelallee 15.

Parking
In Pappelallee there are parking spaces in the public area on the roadside. The theater cannot offer its own parking spaces.

Labor Sonor

Calum Builder presents a concert for self-built pipe organ & saxophone. Auguste Vickunaite collages sounds with tape machines. Carolina Mendonça present the new performance “Something Is Approaching” with Leticia Skrycky.

 

Labor Sonor – the series for experimental music, film and performance – presents the spectrum of current experimental forms beyond genre-specific definability – from real-time music to electronics, performance, audiovisual formats, conceptual music, new composed music and experimental pop.

Queer Family Album Vl. 1

Queer Family Album is a trans-disciplinary festival that highlights and feeds
itself by collaborative efforts from diverse groups of queer artists. Our
performance series strives to break barriers and imagine utopias for queer
futurities by using a performance-based methodology for queer trans-
disciplinary storytelling. In 2024 our first Volume of Queer Family Album is
taking place at Ballhaus Ost, featuring world premieres from KAy Garnellen
and Yvonne Sembene.

 

Queer Family Album is a diverse group of queer artists that are ever-changing and collaborating to present work and create a morphing space of care where we dare to forge queer futurities today.

Transfigurationen

Christina Kubisch »Silent Dialogues« 2024/UA
Adrian Mocanu »cuando se perdió en el agua« 2024/UA
Miika Hyytiäinen »Emote« 2024/UA
Sagardía »Die Seele besteigt den Thron« 2024/UA
Alison Knowles »Silk Thread Song« 1971. Maulwerker-Version (2008) DEA / neue Version (2024) UA

 

Die Uraufführungen von Klangkunst-Pionierin Christina Kubisch, Miika Hyytiäinen, Adrian Mocanu, Sagardìa, Alison Knowles vollziehen einen Prozess der Entäußerung, der die Zuhörenden durch die polyphone Textur der Stimmen labyrinthisch zu sich führt.

 

Die Maulwerker, Kollektiv für stimmliche Experimente, integrieren Elemente aus Performance Art, intermedialer Kunst und Choreografie in ihre Musik.

HOLY SHIT

Ballhaus Ost on Tour @Culterim Gallery / Rossmann (Brunnenstraße 107, 13355 Berlin)
 
HOLY SHIT is a digital temple, an organism, constantly changing, a movement that makes the internet a more beautiful place. We invite you to rewrite the algorithm of the internet. Our mission: Spread the Beauty! – repost it! We are poetry, satire, pop, artwork, puzzles and swarm intelligence. Join in and everything will be more beautiful. In real life, life is changing. Make the digital real! www.holyshit.vision
 

Evy Schubert is a director, multimedia artist and author and works at the intersection of theatre, film and text. She has realised various productions with the HOLY SHIT team.

  
Website-Launch, Live-Performance und Party on 20.09.2024 
Exhibition from 18 to 22
Performance at 19:30

Ballhaus Ost on Tour @Culterim Gallery / Rossmann (Brunnenstraße 107, 13355 Berlin)

BESSER WERDEN!

The coaching scene is booming – and we can learn to become “the best version of ourselves”. The musical theatre piece gets to the bottom of the neoliberal promise of advancement, obsessive self-optimization mania and omnipresent performance imperative of the affluent society.

Helmitropolis

The notorious DIY theater group made up of ugly puppets and beautiful
people embarks on a feverish journey through time to Berlin in the 90s.
It tells the myth-laden story of an idyll in which the spirit of the future had already
future had already taken up residence unrecognized. In the walk-through production
visitors experience a fable full of slapstick and wordplay with lots of live music and
live music and performances.

 

In »Helmitropolis«, Das Helmi is working with a particularly large and diverse ensemble. In addition to the video collective Institut für experimentelle Angelegenheiten and the performer Tania Elstermeyer, amSTARt – Impressario Ran Huber, the musician Fee Kürten, Michael Wittsack from the Rambazamba Theater and the long-term unemployed theatre group Enttäusche Mich! are also involved. The collective has been producing at Ballhaus Ost in Helmholtzkiez and in many other (public) spaces for many years and was most recently invited to the Theatertreffen with the Zurich Lord of the Rings adaptation »Riesenhaft in Mittelerde«.

ZAPFENSTREICH

In 2021, Chancellor Angela Merkel is stepping down from office. In her honor, a centuries-old military ceremony takes place, which is broadcast live by several TV channels. The European performance group BOYS* IN SYNC reenacts the ceremony, blending it with moments of disruption, queerness, and intimacy.
 

Boys* in Syncund is a transdisciplinary, international performance group (DE/DK/SA/NO) working and researching on the phenomenon of synchronicity in different social and cultural settings. The group has been working together since 2019. In january 2025, they will present their new work InterEuroVision at Schauspiel Leipzig.

Karaoke Party

Let’s have some fun this beat is sick, I wanna take a ride on your disco stick: Following the Zapfenstreich performance on 2.10., Boys* in Sync and Marie Meyer celebrate a karaoke party with the greatest hits and obscurities that their songbook has to offer. From power ballads and Eurodance to the greatest German rock/pop classics and 00s girl pop. There’s something for everyone, because: It should rain red roses for all of us!

LAST PRAYER

Four women wait for the end. This time it comes. For real. They stand in front of a huge wall of fire or wait for the final storm surge. They take the last picture in an unstoppable attempt to freeze the beauty of the moment. They confront the Dada of our time, because the daily image feed caricatures beauty while the planet is sinking. LAST PRAYER is multimedia drama, a homage to life. Feminist, yearningly radical and absurdly abysmal.

Translated with DeepL.com (free version)

 

Evy Schubert is a director, multimedia artist and author and works at the intersection of theater, film and text. She has realized various productions with the HOLY SHIT team.

Palace of Ash and Rain

In »Palace of Ash and Rain«, Queer performance collective ONCE WE WERE ISLANDS attempt to imagine a Queer Utopia: post capitalist, post trauma, post addiction, post sadness, post joy — an After to the mess that came Before. Palace of Ash and Rain is the fifth chapter of »With Forests in Our Mouths«.
 
Queer performance collective ONCE WE WERE ISLANDS make multidisciplinary performance works, often using the Queer constructed language Damiá as an artistic tool. In 2023, they left Berlin for a new home at the edge of the forest in North Karelia, Finland.

Faserland-Boys und Ich

In her monologue, Fatima Çalışkan is fascinated by the superficiality of pop-cultural male literature of the ninties and finds her feminist answer by babbling. Inspired by the novel »Faserland«, she scrutinises the pop-cultural zeitgeist from a female, post-migrant perspective and reviews her work in the literary quartet.
 
In her transdisciplinary work, Fatima Çalışkan develops political positions on biography and zeitgeist with a humorous and satirical approach. For the monologue »Faserland-Boys and I«, she draws on her own experiences of being pigeonholed by people into inappropriate orientalised categories and now turns the tables with relish.

Gargoyles

In »Gargoyles«, the narratives of evil women are combined with the grotesque gargoyles from the Gothic period. Half gargoyle, half theatrical figure, the villains Medea and Lady Macbeth awaken from their physical and metaphorical petrifaction.
 

Anne Welenc celebrated her debut as an author and director with »QUEENS« in 2023. Her works are based on critical feminist research into classic theatre material, which she expands with impulses from related performing arts and elements of pop and club culture.

La Fracture

Yasmine Yahiatène follows in the footsteps of her father Ahmed: his Kabyle roots, his exile to France, the loss of his mother tongue. But also the final of the ’98 World Cup, the two goals scored by Zidane. And, between these two shores, alcohol – like a bad remedy for this disintegrating past.

Yasmine Yahiatène and her creative team have co-authored »La Fracture«, a world premiere that is as discreet as it is disturbing. In a subtle game of oral evocations and visual overlays, she slips into the gaps in her family history and transforms the stage into a place of investigation and reparation.

Schule der Liebenden

As part of the NO LIMITS – Disability & Performing Arts Festival 2024

  

The »School of Lovers« is a sensitive, empowering and genre-bending art experience on the subject of love and intimacy for people with and without disabilities.

NOTE :
There are moments with loud noises.

The performance is partly interactive.

The audience is addressed directly and invited to do small exercises (breathing, brief touches). No one is forced to participate.

The audience will be asked to take off their shoes to enter the stage.

A Spectacle of herself

As part of the NO LIMITS – Disability & Performing Arts Festival 2024

 
Laura Murphy dares to perform a wild balancing act between new circus, queer-feminist stand-up comedy, trash and poetic intimacy in her equally personal and provocative solo show.

TRIGGER WARNiNG

There is fog, strobe-like lights and loud music/noises.

The piece contains nudity, vulgar language and references to sex.

Harmony Within the Noise

Anna Berndtson and Yingmei Duan connect the festival venues spread across the city – stage space and public space, indoor space and outdoor space – with ten live performances they have developed especially for NO LIMITS. »Harmony Within the Noise« is a collaborative series of performances that blur the boundaries between art and everyday life and take the audience on a journey of perception. Various media stimulate the audience’s senses and are intended to open up new perspectives.

 
The two performance artists studied fine art with Marina Abramović at the HBK Braunschweig. Over the past twenty years, they have been active both individually and in numerous collaborations. They focus their energy and creativity on performance art, with a variety of works in Germany and abroad.

Ein Schatten unserer Selbst

The evening takes you into a world between light and shadow. Together with the performers of Hysterisches Globusgefühl, the audience enters a shady, shimmering realm in the Ballhaus Ost auditorium and explores the gray areas of shadow theater.

 

The performance collective Hysterisches Globusgefühl (Berlin/Vienna) are wholeheartedly and in solidarity with their artistic work against the heteronormative patriarchy and develop utopias for an anti-racist, classless, queerfeminist and respectful future. At the centre of their work is the question of conscious action, political interaction and global malaise. They turn the streets into a theatre stage and the theatre into a stage for political debate. Driven by the search for alternative possibilities, they deal with forms of protest, the aesthetics of subcultures and questions of social coexistence. https://hysterischesglobusgefuehl.wordpress.com/

Concerthaus Ost – The Late Night Shows

Step into a transformative evening at Ballhaus Ost, where personal histories and musical innovation meet in a night of bold, boundary-pushing performances by artists with deep ties to the SWANA (Southwest Asia and North Africa) region.

Anthony Hüseyin, curator of the event, leads the night with a captivating blend of Kurdish, Turkish, and Arabic influences. A non-binary artist who intertwines classical, jazz, and traditional forms, Hüseyin’s work explores themes of memory, collective consciousness, and the fluidity of identity. With a voice that shifts between vulnerability and defiance, Hüseyin’s performance invites audiences into a world where the personal becomes political, queer narratives are celebrated, and the body itself becomes an instrument of resistance.

MADANII, a genre-defying talent rooted in Persian heritage, brings a visceral fusion of avant-pop, alternative R&B, and trap, exploring the tensions of belonging, queer love, and generational dreams. Each of her songs is an immersive experience, weaving Persian cultural motifs with a raw, contemporary edge.

Zuher Jazmati (aka xanax_attax) completes the lineup, channeling his Syrian-German identity into sets that merge tacky Arab-pop with femme Hip Hop beats. As a co-founder of ADIRA Party, his DJ sets confront issues of anti-Muslim racism and queer visibility, creating a powerful space for self-expression and community.
With »Echoes of the Edge: Queer Sounds and Stories from West Asia & North Africa« these artists redefine SWANA soundscapes, creating a mosaic of resistance, resilience, and reverence for their roots.

Mit »Echoes of the Edge: Queer Sounds and Stories from West Asia & North Africa« definieren diese Künstler die SWANA-Soundscapes neu und schaffen ein Mosaik aus Widerstand, Resilienz und Ehrfurcht vor ihren Wurzeln.

REINHEIT

»REINHEIT« is inspired by the examination of concepts of control, safety and cleanliness – as a civilizational motor, as a means of emancipation and oppression.
The work revolves around the meticulous reconstruction of a seemingly endless, compulsive hand-washing loop: a scenic artifact from the heyday of obsessive-compulsive disorder, which has dominated the everyday life of theatre-maker Oliver Zahn in recent years.

 #unkürzbar

The measures planned by the Berlin Senate to consolidate the state budget announce drastic budget cuts for the coming years. The cultural sector, but also related areas such as education, social affairs and science, are particularly affected.

We still do not know at this stage to what extent the budget cuts will affect our specific work at Ballhaus Ost. However, we are very concerned about the Senate’s priorities and the policy of social coldness that they reflect. Concerned about the future of Ballhaus Ost and the many people with their diverse life stories with whom we work. Concerned about the future of Berlin.

There are many people involved in the fight against the Berlin Senate’s short-sighted and socially unjust cost-cutting agenda. We have collected particularly important initiatives and statements whose concerns we support and share in the following (constantly updated) link list:

https://unkuerzbar.de/

https://www.berlinistkultur.de/

https://www.bbk-berlin.de/news/16122024-pressemitteilung-von-berlinistkultur-zu-den-dezentralen-aktionstagen-vom-16-181224

https://diversity-arts-culture.berlin

https://stiftung-kulturelle-weiterbildung-kulturberatung.berlin/

https://www.laft-berlin.de/kulturpolitik/berliner-kulturpolitik-aktuell

https://www.tanzraumberlin.de/kulturpolitik/aktuelles-aus-berlin

https://freieszene.berlin/statement-arbeitsraumprogramm/

https://www.theater-on.de/aktuell/aktuelles-detail/pressemitteilung-arbeitskreis-berliner-kinder-und-jugendtheater-vom-10-dezember-2024/2a58364f630c6d78da47abd8c37aebde

https://schaubude.berlin/de/news/statement-ag-puppen-und-figurentheater/

https://nachtkritik.de/images/stories/pdf/OffeneBriefe/Stellungnahme_Jury_HKF_Kulturkuerzungen.pdf

#unkürzbar

The measures planned by the Berlin Senate to consolidate the state budget announce drastic budget cuts for the coming years. The cultural sector, but also related areas such as education, social affairs and science, are particularly affected.

We still do not know at this stage to what extent the budget cuts will affect our specific work at Ballhaus Ost. However, we are very concerned about the Senate’s priorities and the policy of social coldness that they reflect. Concerned about the future of Ballhaus Ost and the many people with their diverse life stories with whom we work. Concerned about the future of Berlin.

There are many people involved in the fight against the Berlin Senate’s short-sighted and socially unjust cost-cutting agenda. We have collected particularly important initiatives and statements whose concerns we support and share in the following (constantly updated) link list:

https://unkuerzbar.de

http://berlinistkultur.de

https://www.bbk-berlin.de/news/16122024-pressemitteilung-von-berlinistkultur-zu-den-dezentralen-aktionstagen-vom-16-181224

https://diversity-arts-culture.berlin

https://stiftung-kulturelle-weiterbildung-kulturberatung.berlin.de

Linke Hände

The musical lecture performance “Left Hands” is dedicated to female artists of the GDR, follows their footsteps and delves into their work, is a documentary, declaration of love, punk concert – with Rosa Beton – and essay all in one.
 

The music theater collective Hauen und Stechen developed its works in cellars and on opera stages. It stands for a poetic, multifaceted and wild theatrical language that marks a political and idiosyncratic position in music theater.

N O T E :
The performance includes the depiction of nudity and loud pop music.

Songs & Dances about the Weather

The dance piece combines stories about African rainmaking rituals with the poetic representation of climate data of melting glaciers in Europe. In this way, two phenomena of “disappearance” are brought into context and made tangible with the help of three-dimensional projections.

 

Christoph Winkler has created more than 80 dance pieces as a freelance artist since 1996 and 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 Company Christoph Winkler, he brings together dancers from all over the world to work together as temporary collectives on a broad spectrum of content.

Warum der Hund das Fleisch durch den Fluss trägt

There is always a dispute in the forest of mythical creatures. No two of them ever agree. But it’s not the arguments that are the problem, it’s how we deal with them. Tricky situations call for mouse courage, squirrel humour and peace techniques. Together with the animals, the audience tries out the conflict management toolbox.

 

Sebastian Mauksch develops theatre productions, primarily for children and young people, as a shared space for experience and discovery. The productions are created in a collective departmental working method with various artists, who this time also perform themselves.

In addition to »Warum der Hund das Fleisch durch den Fluss trägt« (2023, HKF funding, longlist Augenblick mal! 2025) realized Sebastian Mauksch &Team in cooperation with Ballhaus Ost, »Normans Norm« (2024, Senate funding), »Junge Leute« (2022, HKF funding, longlist Wildwechsel 2023), »Fennymore oder wie man Dackel im Salzmantel macht« (2019, HKF funding, invitations to the festivals Augenblick mal! and Wildwechsel 2021), »Karl & Knäcke lernen Räubern« (2020, Senate funding). The focus of his artistic research is »The Art of Adolescence« and its principles of self-empowering theater work. He is a juror at the »Theatertreffen der Jugend« and develops various artistic projects at Berlin schools. http://sebastianmauksch.de/

Jokehaus Ost

Times are tough! But did you know that tragedy + time = comedy? If not, you’re probably not a comedian. These troubled fools know how to walk from their pain to your pleasure. If you’ve ever wondered what it sounds like when life-shattered comedians process their selves – join us at JOKEHAUS OST! From freezing your eggs, growing up in war, or just their daddy’s leaving them – trauma dumping is our love language! You’ll be glad that times are rough when these international comedians have you laugh your pain away! 

 

With Anna Beros, Gözde Güngör, Palma Palacios and Mila Panić

Curated by EXPERT BY IDENTITY

ACCESS NOTE
The event room is only accessible via stairs.

Mit Wirkung

Connected in the fight against anti-Muslim racism & anti-Semitism.
A relaxed series of events on intense topics.

Upcoming events:
06.02.2025
Mit Machen 
22.03.2025+23.03.2025
Mit Uns
22.3 Mit Uns
23.3 Mit Uns 
(for families)
25.04.2025-27.04.2025
tba

Past events:
11.12.2024
Mit Denken
12.12.2024
Mit Sprechen

Notes on access

If you have any questions about accessibility, please contact Agnieszka Habraschka.

Agnieszka will be present at the event as an access person and will support you with all questions/needs relating to accessibility.

General information on content and sensory stimuli

Mit Wirkung is about anti-Semitism and anti-Muslim racism in Germany.
During the event there will be food smells from food prepared on site.
We will provide detailed content information and information on sensory stimuli and allergens for each part of the event series.

Relaxed Event

The events take place in a relaxed atmosphere.
Various forms of attention are welcome. There will be various seating options, stim toys*, blankets, drinks and food (including gluten-free and vegan alternatives). You can move around during the event, sit or lie down and use stim toys*. You can take your own breaks and go out and come back in at any time. 

Seating options
Chairs, beanbags, cushions, carpets

Retreat space
There is a retreat room with beanbags, loungers, blankets and stim toys*.

*Stim toys are small, calming objects such as stress balls, plasticine or pressure rings that help neurodivergent people in particular to regulate their nervous system.

What is a relaxed performance?
Relaxed events are based on the Relaxed Performance format and aim to offer accessibility especially for neurodivergent people, people with chronic illnesses/pain/people with invisible disabilities. Accessibility is not added as an afterthought, but is part of the event concept. As with theater performances, there are often implicit rules of conduct at events that make it difficult for neurodivergent people or people with chronic illnesses/pain to participate fully. Examples of this include expectations such as sitting still on chairs, moving little or not taking independent breaks. Such conventions make it difficult for many people to participate. These rules/expectations should be removed with the relaxed event format.

Relaxed formats also offer a sensitive approach, especially when dealing with emotionally draining or trauma-related topics. At the beginning of each event, we share various physical exercises with you that are designed to calm the central nervous system and that you can do individually or together as a group.

Spaces and WC

There is continuous, step-free and level access (incl. kerb ramp) from the street to the building and to the hall with a width of at least 150 cm. The floor surface in the courtyard is slightly uneven.
The event takes place in the hall, which is at ground level.
The hall is entered through a 194 cm wide double door. Then there is a second double door, which has an entrance dimension of 180 cm. The third double door, through which the audience enters the hall, is 136 cm wide.
There is no elevator.
Unfortunately, the bar can only be reached via a staircase on the second floor and is therefore not accessible for wheelchair users. There are 17 steps between the first floor and the second floor.
There is space for wheelchairs or walking frames in the event hall/area and there is the option of reserving a particularly suitable seat and/or entering the hall early.

Accessible WC
There is a wheelchair-accessible toilet on the first floor of the building. Access to this toilet is via the corridor and is 198 cm wide. The entrance to the toilet is 79 cm wide.

How to reach us

The nearest stop is U-Bahnhof Eberswalderstr.
The underground station has an elevator. The subway station is located at an intersection with a lot of car and pedestrian traffic.
From there, parts of the path to Ballhaus Ost lead over cobblestones.
The entrance to the theater is through the archway in the courtyard of the building at Pappelallee 15.

Parking
In Pappelallee there are parking spaces in the public area on the roadside. The theater cannot offer its own parking spaces.

Draghaus Ost: A Dames Revue

Witness the full majesty of the musical muses : Shirley Knott and Madame Eve. An evening of iconic pop covers, comedic sketches, sensual performances, moments of catharsis, piano karaoke, and raw energy to set your loins on fire. A drag show like no other, the pair invite some of Berlin’s finest drag entertainers to shine in this multisensory showcase. Daniela Candela, Kaleidolicious, & Lawunda Richardson. Join the Dames around their big pink furry piano for this once in a lifetime spectacle.

 

Amour, humour & glamour.
The Dames is a musical duo created in 2022. Starting as a camp piano-karaoke evening in queer bars and private events, it evolved into an immersive, almost ritualistic performance in theaters and art galleries. It is between these two extremes that they create magic.

Souls Out

Gathered under the title »Souls Out«, the final semester projects of Prof. Janina Audick’s stage design class at the Berlin University of the Arts deal with the socio-political and aesthetic urgencies of our present day and create multimedia-based spatial productions that allow contemporary issues to be explored using artistic means. The presentations can be seen on February 14 and 15 between 3 and 10 pm.

Friday 14.02.

Performances from 17:00

ORAL
Start: 17:00
Duration: ~30 minutes
Location: [THEATER HALL]
Details: Performance, Videoinstallation
Artists: Naima-Sophie Okoemu and Nils Ronneburg / tattoosforgoodpeople

THE CULTURE CIRCUS: – When Cuts Go Wild
Start: 17:50
Duration: ~10 minutes
Location: [YARD]
Details: Installation and Performance
Artists: Martin Gonschorek, Sarah Hrstkova, Paula Krömeke, Sofia Loose Martinez de Castro

DRAG PERFORMANCES:
Start: 18:00

1. ENTROTERRA
Start: 18:00
Duration: ~8 minutes
Location: [Bar]
Details: Stage design and performance, „Vom Raum zum Text“ – a cooperation with the study program of scenic writing
Artists: Mariano Sukopp (stage), Laura Gerloff (scenic writing), Emma Bröcker (audio)
2. SILVER TONGUE presents: MERCILESS MASC
Start: 18:10
Duration: ~15 minutes
Location: [THEATER HALL]
Details: Performance
Artist: Jo Landt
3. LINEAGE
Start: 18:30
Duration: ~20 minutes
Location: [THEATER HALL]
Details: Stage performance
Atists: Eduardo Soto and Corazón

MULTIWELLEN OSZILLATOR
Start: 19:15
Duration: ~15 minutes
Location: [Bar]
Details: Mini-piece, „Vom Raum zum Text“ – a cooperation with the study program of scenic writing
Artists: David Sinha (stage), Silas Grünwald (author), Rosa Dietermann, Vandross (actors)

SCENIC/CYNIC IMAGARIES: Imma Jazz-in/Jazz-out
Start: 19:30
Duration: ~35 minutes
Location: [THEATER HALL]
Lecture/Performance and installation
Concept/Text: Reihaneh Mehrad
Sound design: Fat
Costume design: Leo de Saint Sève

PÉPLUM PIC-NIC
Start: 20:10
Duration: ~10 minutes

Location: [THEATER HALL]

Details: Lecture/Performance

Artist: Jeanot Kempf

MOURNING ANIMALIA
Start: 20:20
Duration: ~10 minutes
Location: [Bar]
Details: Installation and performance, „Vom Raum zum Text“ – a cooperation with the study program of scenic writing
Artists: Josepha Lhuillier-Sion (stage) and Marie Magdalena Fuchs (scenic writing)

CABARET (ONE-MAN SHOW)
Start: 20:30
Duration: ~120 minutes
Location: [THEATER HALL] (Graveyard Side)
Type: Performance
Artist: Geoffrey Paul Patrick LaRue
Content Notes:
● Adult Content: Implied sexual behavior, nudity, and a plot point involving abortion.
● Violence and Abuse: Depictions of physical and emotional violence, simulated blood.
● Discrimination and Intolerance: Themes of anti-Semitism, homophobia, misogyny, dehumanization, and ageism in 1930s Berlin nightlife.
● Mental Health Struggles: Depression, suicidal ideation, addiction, existential despair, and morality crises.
● Political and Social Commentary: Focus on pre-WWII Germany and the dangers of complacency in the face of rising fascism, with contemporary relevance to politics and social issues.
Viewer Discretion Advised

DURATIONAL PERFORMANCES (can start any time of the day)

DEIN FLEISCH ZU MEINEM FLEISCH
Start: ~30 minutes to 1 hour
Location: [Bar]
Details: Installation and durational performance, „Vom Raum zum Text“ – a cooperation with the study program of scenic writing
Artists: Duong Nguyen Thuy (stage) and Mira Seesemann (scenic writing)
GRASS ON MY LIVER
Location: [3rd Floor]
Details: Installation and performance
Artist: Yaoer Zeng

Saturday 15.02.

Performances from 20:00

THE CULTURE CIRCUS: – When Cuts Go Wild
Start: 20:00
Duration: ~10 minutes
Location: [Yard]
Details: Installation and performance
Artists: Martin Gonschorek, Sarah Hrstkova, Paula Krömeke, Sofia Loose Martinez de Castro

DRAG PERFORMANCES:
Start: 20:10

1. ENTROTERRA
Start: 20:10
Duration: ~8 minutes
Location: [Bar]
Details: Stage design and performance, „Vom Raum zum Text“ – a cooperation with the study program of scenic writing
Artists: Mariano Sukopp (stage), Laura Gerloff (scenic writing), Emma Bröcker (audio)
2. SILVER TONGUE presents: MERCILESS MASC
Start: 20:20
Duration: ~15 minutes
Location: [THEATER HALL]
Details: Performance
Artist: Jo Landt
3. LINEAGE
Start: 20:40
Duration: ~20 minutes
Location: [THEATER HALL]
Details: Stage performance
Atists: Eduardo Soto and Corazón

MULTIWELLEN OSZILLATOR
Start: 21:15
Duration: ~15 minutes
Location: [Bar]
Details: Mini-piece, „Vom Raum zum Text“ – a cooperation with the study program of scenic writing
Artists: David Sinha (stage), Silas Grünwald (author), Rosa Dietermann, Vandross (actors)

SCENIC/CYNIC IMAGARIES: Imma Jazz-in/Jazz-out
Start: 21:30
Duration: ~35 minutes
Location: [THEATER HALL]
Lecture/Performance and installation
Concept/Text: Reihaneh Mehrad
Sound design: Fat
Costume design: Leo de Saint Sève

PÉPLUM PIC-NIC
Start: 22:00
Duration: ~10 minutes

Location: [THEATER HALL]

Details: Lecture/Performance

Artist: Jeanot Kempf

MOURNING ANIMALIA
Start: 22:10
Duration: ~10 minutes
Location: [Bar]
Details: Installation and performance, „Vom Raum zum Text“ – a cooperation with the study program of scenic writing
Artists: Josepha Lhuillier-Sion (stage) and Marie Magdalena Fuchs (scenic writing)

22:30-END OF MAIN PROGRAM

DURATIONAL PERFORMANCES (can start any time of the day)

DEIN FLEISCH ZU MEINEM FLEISCH
Start: ~30 minutes to 1 hour
Location: [Bar]
Details: Installation and durational performance, „Vom Raum zum Text“ – a cooperation with the study program of scenic writing
Artists: Duong Nguyen Thuy (stage) and Mira Seesemann (scenic writing)
GRASS ON MY LIVER
Location: [3rd Floor]
Details: Installation and performance
Artist: Yaoer Zeng

http://buehnenbild-udk.xyz/
Instagram: @audick_udk_buehnenbildklasse

Damage Done

Welcome to a living room that turns into a smouldering scene of remembering and forgetting. Here, between a grandmother suffering from Alzheimer’s and her daughter, worlds collide: an interplay of anger, sadness, despair and disorientation.

Tobias Yves Zintel (1975, Passau) studied conceptual art at the Academy of Fine Arts in Munich. In his works he combines methods of experimental film, theatre staging, music and installation art. Zintel consciously crosses the boundaries between fact and fiction, document and fragment, and examines questions of subject constitution as well as rituals, knowledge and belief systems that characterise identity.

The performance on 22.02. will be followed by an artist talk with Once We Were Islands and Theaterscoutings Berlin.

Frauen der Revolutionsstraße دختران خیابان انقلاب

دختران خیابان انقل داستان خیابانی به درازای ۵ کیلومتر در قلب شهر تهران است که از اسفند ۱۳۵۷ تا کنون صحنه‌ی ایستادگی زنان در برابر نظام اسلامی حاکم بر ایران بوده است. جایی که در ویرانه‌ها و خانه‌های متروک آن طرح‌های نو و تئاتر شوریدن پدیدار می‌شود.  

 

The play is about people who refuse to submit. Of women who challenge generations of oppression and find their identity, their voices and their expression. It connects the story of the protagonist and her mother with the collective struggle for freedom – a struggle that finds its most visible expression on the revolutionary street.

 

در پاییز ۱۴۰۱ همزمان با خیزش زنان، آیت نجفی در تهران مجموعه‌ای از کارگاههای زیرزمینی تئاتر را هدایت می‌کرد. این پروژه از سال ۱۴۰۲ با پیوستن جمعی از هنرمندانِ سایر کشورها به گروه در برلین ادامه یافته است.

 

In fall of 2022, Ayat Najafi led a series of underground theater workshops in Tehran during the women’s uprising. From this work, an ensemble emerged, which he has continued to develop in Berlin with international artists since 2023.

Date of Performance |تاریخ اجرا

آیا می‌شود به اجرایی فکر کرد که با وجود عدم حضور فیزیکال اجراگر آن، غیبت وی نقش‌اش را ایفا کند؟
وظیفه و نقش هنرمند در شرایط اضطراری، مثل جنگ و تحولات اجتماعی-سیاسی چست؟
هنرمند چگونه می‌تواند در فضای زندان به زیست هنری خود ادامه دهد؟

لکچر پرفورمنس «تاریخ اجرا» تاریخچه‌‌ی نمایش‌های اجرا شده توسط هنرمندان در بند زندان‌های سراسر ایران بین سال‌های ۱۳۳۳ تا ۱۴۰۳ است. هدف اثر بررسی شرایط اضطراری هنرمندان در بند و تامل به شرایط کار هنری در زندان است. با کمک کسانی که تجربه‌های مشابه‌ی داشته‌اند تلاش شده تا دیدی کلی نسبت به تاتر زندان قبل و بعد از انقلاب اسلامی ایران ایجاد شود.

بنا بر شرایط اجتماعی-سیاسی فرم مستند و لکچرپرفورمنس را برای شرح حال کنونی مناسب دیدیم و برای اجرا به مکان‌هایی خارج از صحنه‌های رسمی فکر کردیم. اجرای قبلی گروه در یک سالن ورزشی مخروبه انجام شد و تلاش کردیم تا به تاریخی بازگردیم که کمتر از آن صحبت شده است؛ تاریخ اجراهای زندان. در این راستا مصاحبه‌ها و تحقیقات گروه آغاز شد و تلاش کردیم با کمک از کسانی که تجربه‌هایی از روایت هنرمندان در بند داشتند به درکی کلی برسیم و فرم کلی اجرا را شکل دهیم.

Is it possible to conceive a performance in which the absence of the performer, despite their physical non-presence, fulfils their role?

What tasks and roles does a performer have in times of crisis, such as war and socio-political upheaval?

How can an artist continue their artistic practice within the walls of a prison?

The lecture performance “The Date of Performance” traces the history of performances staged by imprisoned artists in prisons in Iran between 1954 and 2024. The aim of the work is to examine the plight of imprisoned artists and to reflect on the conditions of making art in prison. With the help of people who have had similar experiences, an attempt is made to create a comprehensive perspective on prison theater before and after the Islamic Revolution in Iran.

Given the socio-political circumstances, we felt that the documentary and lecture-performance form was the most appropriate way to address the current situation. We also looked for performance venues beyond the traditional stages. The group’s last performance took place in an abandoned sports hall, where we tried to look back at a little-noticed history: the history of prison performances. With this in mind, the group began interviewing and researching to gain a full understanding of these stories with the help of people who had experience with the narratives of incarcerated women artists. As part of this, we worked to shape the overall structure of the performance.

Trouble

Inspired by stories and figures from the wonderland of Oz, five performers between 10 and 43 years of age look for ways to deal with the gloomy scenarios we encounter daily on all channels.
Can cotton candy, magic tricks or poems by Kae Tempest help? How can we respond together to all the trouble? And how can we become strong without hardening ourselves?

Tanz hin Tanz her

Dance back and forth, this way and that. A call for motion. A call for movement. An ensemble of professional dancers and a young drop of refugees invites to dance and illuminates the structures of integration: what does it mean to integrate into a society or a situation?

 

Angela Lamprianidou, born in Greece, studied choreography and new techniques of interpretation at the »Institut del Teatre« in Barcelona, where she lived and worked until recently. She has collaborated with theaters such as the Mercat de les Flors, the National Theater of Catalonia and the Underground & Off scene.

Mit Wirkung II: Mit Sprechen

On the second evening of »Mit Wirkung«, experts will engage in dialogue and reflect on the changing discourse in Berlin, the controversial definitions of anti-Semitism and anti-Muslim racism and the possibility of linking the two struggles. The event will conclude with Bedouin food artist Samar Abu-Fraiha, in an evening of hospitality, culture and connection.

The first part of »Mit Wirkung. Eine Relaxed Veranstaltungsreihe über intensiven Themen« will take place on 11 December at 18:00: »Mit Denken«

Soft Arrival: Between 18:00 and 18:30, visitors can slowly arrive in the room. Breaks are scheduled approximately every 45′. Each break lasts 15′.

 

Livestream from 18:30 here.

Notes on Access

If you have any questions about accessibility, please contact Agnieszka Habraschka.

Agnieszka will be present at the event as an access person and will support you with all questions/needs relating to accessibility.

General Note on Content and Sensory Stimuli

Mit Wirkung is about anti-Semitism and anti-Muslim racism in Germany.
Increased volume in the hall during the second part of the evening.
Smell of food during the discussion.
During the food performance, participants sit together at a table and can talk.
Below you will find detailed content information, information on sensory stimuli and information on allergens on the menu.

Relaxed Performance

The events take place in a relaxed atmosphere.
Various forms of attention are welcome. There will be various seating options, stim toys*, blankets, drinks and food (including gluten-free and vegan alternatives). You can move around during the event, sit or lie down and use stim toys*. You can take your own breaks and go out and come back in at any time.

Sitting options
Chairs, beanbags, seat cushions, carpets with tables of different heights

Retreat room
There is a retreat room with beanbags, loungers, blankets and stim toys*.

*Stim toys are small, calming objects such as stress balls, plasticine or pressure rings that help neurodivergent people in particular to regulate their nervous system.

What is a relaxed event?
Relaxed events are based on the Relaxed Performance format and aim to offer accessibility especially for neurodivergent people, people with chronic illnesses/pain/people with invisible disabilities. Accessibility is not added as an afterthought, but is part of the event concept. As with theater performances, there are often implicit rules of conduct at events that make it difficult for neurodivergent people or people with chronic illnesses/pain to participate fully. Examples of this include expectations to sit still on chairs, to move little or not to take independent breaks. Such conventions make it difficult for many people to participate. These rules/expectations should be removed with the relaxed event format.

Relaxed formats also offer a sensitive approach, especially when dealing with emotionally draining or trauma-related topics. At the beginning of each event, we share various physical exercises with you that are designed to calm the central nervous system and that you can do individually or together as a group.

Relaxed Content/sensory stimuli/allergens:

Discussion with Prof. Dr. Uffa Jensen and Allex. Fassberg:
-Anti-Semitism and anti-Muslim racism

-Different definitions of anti-Semitism

-Politicization of the term anti-Semitism

-Current incidents of violence and discrimination

-Discussion of different data sets (e.g. RIAS reports, police statistics)
-Role of institutions (police, government, educational institutions)

-Criticism of resolutions such as “Never again is now”

-Marginalization and discrimination of other groups (queer, Muslim, black, trans* people, Sinti or Roma)
-Exclusion and playing communities off against each other

-Racism at universities

Bedouin hospitality with Samar Abu-Fraiha:
Allergens:
-milk/lactose
-gluten (there are gluten-free alternatives for bread, but not for every dish)

-sesam

-paprika
-walnuts
-coriander
-garlic
-pine nuts
-pistazien
-almonds

Rooms

There is continuous, step-free and level access (incl. kerb ramp) from the street to the building and to the hall with a width of at least 150 cm. The floor surface in the courtyard is slightly uneven.
Most performances take place in the auditorium, which is at ground level. The hall is entered through a 194 cm wide double door. Then there is a second double door, which has an entrance dimension of 180 cm. The third double door, through which the audience enters the auditorium, is 136 cm wide. There is no lift.
In good weather, the bar is at ground level in the courtyard, in bad weather unfortunately only accessible via a staircase on the second floor. This bar is not accessible for wheelchair users. There are 17 steps between the first floor and the second floor.
There is space for wheelchairs or walking frames in the event hall/area and there is the option of reserving a particularly suitable seat and/or entering the hall early.

Barrierefree WC
There is a wheelchair-accessible toilet on the first floor of the building. Access to this toilet is via the corridor and is 198 cm wide. The entrance to the toilet is 79 cm wide.

How to find us

The nearest stop is U-Bahnhof Eberswalderstr.
The underground station has an elevator. The underground station is located at an intersection with a lot of car and pedestrian traffic. From there, parts of the way to Ballhaus Ost are on cobblestones.
The theater entrance is through the archway in the courtyard of the building at Pappelallee 15.

Parking options
In Pappelallee there are parking spaces in the public area on the roadside. The theater cannot offer its own parking spaces.

Mit Wirkung I: Mit Denken

The first evening of »Mit Wirkung« is dedicated to learning together. In small groups, topics relating to anti-Semitism, racism and repression are made accessible for a differentiated and complex discussion that invites the audience to ask questions, read and exchange ideas with experts and each other.

The second part of »Mit Wirkung. Eine Relaxed Veranstaltungsreihe über intensiven Themen« will take place on 12 December at 18:00: »Mit Sprechen«

Soft Arrival: Between 18:00 and 18:30, visitors can slowly arrive in the room. Breaks are scheduled approximately every 45′. Each break lasts 15′.

Notes on access

If you have any questions about accessibility, please contact Agnieszka Habraschka.

Agnieszka will be present at the event as an access person and will support you with all questions/needs relating to accessibility.

Four groups work on the first floor and are accessible without stairs.
One of the groups will work on the third floor (36 steps).
Another group will work on the fourth floor (54 steps).
We will decide which group works where according to their needs.

General Note on Content and Sensory Stimuli

Mit Wirkung addresses antisemitism and anti-Muslim racism in Germany.

All groups involve participant engagement through discussions or presentations of their work in small or large groups (participation is entirely optional).
Increased noise levels during group work in the hall!
Smells of food may be present during the group work.

Below you will find detailed content information, information on sensory stimuli for each work group and information on kitchen allergens.

Relaxed Performance

The events take place in a relaxed atmosphere.
Various forms of attention are welcome. There will be various seating options, stim toys*, blankets, drinks and food (including gluten-free and vegan alternatives). You can move around during the event, sit or lie down and use stim toys*. You can take your own breaks and go out and come back in at any time.

Sitting options
Chairs, beanbags, seat cushions, carpets

Retreat room
There is a retreat room with beanbags, loungers, blankets and stim toys*.

*Stim toys are small, calming objects such as stress balls, plasticine or pressure rings that help neurodivergent people in particular to regulate their nervous system.

What is a relaxed event?
Relaxed events are based on the Relaxed Performance format and aim to offer accessibility especially for neurodivergent people, people with chronic illnesses/pain/people with invisible disabilities. Accessibility is not added as an afterthought, but is part of the event concept. As with theater performances, there are often implicit rules of conduct at events that make it difficult for neurodivergent people or people with chronic illnesses/pain to participate fully. Examples of this include expectations to sit still on chairs, to move little or not to take independent breaks. Such conventions make it difficult for many people to participate. These rules/expectations should be removed with the relaxed event format.

Relaxed formats also offer a sensitive approach, especially when dealing with emotionally draining or trauma-related topics. At the beginning of each event, we share various physical exercises with you that are designed to calm the central nervous system and that you can do individually or together as a group.

Relaxed Content/sensory stimuli/allergens:

Tomer Dotan-Dreyfus reads/liest Jacqueline Kahanoff. 
Text in English, conversation in German/English
Text auf Englisch, Gespräch auf Deutsch/Englisch

Kahanoff:
-The text explores Jewish, Muslim, and Christian identities as well as tensions and misunderstandings between them.

-Mentions the story of Passover, the Exodus, and the Ten Plagues.

-Describes conflicts of identity.

-A friendship between children of different religions breaks down due to cultural differences.

-Discusses the Ten Plagues and their impact on Egyptian people.

Celan:
-Explores identity, intimacy, and otherness.

-The poem addresses loss and pain connected to personal and collective history.

-Possible references to mourning, memory, and guilt associated with exile and separation.

-Depicts closeness, intimacy, pain, and loss.

Lina Majdalanie reads/liest Brecht
Text in German/English, conversation in English
Text auf Deutsch/Englisch, Gespräch auf Englisch

Anrede an den Kongressausschuss für unamerikanische Betätigungen in Washington, 1947

-The text describes personal experiences of persecution under the Nazi regime and forced exile.

-Depicts life in exile for many writers and artists, as well as the associated cultural losses.

-Themes of censorship and cultural and artistic suppression.

-References to the horrors of war.


-Mentions poverty, homelessness, and the destruction of livelihoods in the post-war period.

-Highlights state control and restrictions on artistic expression.
/b>
-Notes the possibility of a global war and the complete annihilation of humanity.

Wir Neunzehn

-Academic language.
-Themes of political persecution and state oppression.

-References to ideological purges and public humiliation of cultural workers.

-Descriptions of existential threats through the loss of livelihoods (blacklists).

-Metaphorical language suggesting violence (e.g., “stake” against innocents).

-Depictions of fear, intimidation, and psychological pressure from state and economic power structures.

-Ableism-insensitive language: The text uses the phrase “blind obedience” to critique unconditional compliance and lack of reflection.

Sisi Bo’wale – COLLAGE AGAINST THE MACHINE
conversation in English/German
Gespräch auf Englisch/Deutsch

Content Notes:
-The group activity addresses themes such as antisemitism, anti-Muslim and anti-Black racism, and the impacts of systemic oppression.

-It explores the censorship of voices, the creation of counter-narratives, and the role of resistance.

-The activity reflects personal or collective emotions such as anger, grief, hope, or empathy.
/b>
-Examines the connections between different forms of oppression and their impact on various communities.

-A safe space is aimed for, to share complex emotions and thoughts in a supportive environment.

Sensory Stimuli:

-he activity involves the use of scissors and glue.

-Possible sounds of paper being cut or torn.

Dr. Nahed Samour reads/liest Edward Said
Text/Video in English, conversation in German
Text/Video auf Englisch, Gespräch auf Deutsch

-Highly academic text written in complex language./b>
-Mentions of corruption, conformity, and the instrumentalization of intellectuals by powerful institutions or ideologies.

Wael Esakndar views/schaut Black Mirror
Video in English with German Subtitles. 
Conversation in English
Video auf Englisch mit deutschen Untertiteln.
Gespräch auf Englisch

Conten Notes:
-Violence and War: Depiction of military operations with deadly confrontations and weapons.

-Manipulation of Perception:
Themes of technological manipulation of reality and its ethical implications.
-Dehumanization: The episode portrays how technology causes people to perceive others as less human.
-Psychological Strain: Depiction of trauma, guilt, and the psychological effects of war.

-Racist and Social Discrimination: Subtext addressing the dehumanization of minorities and systemic oppression.

-Explicit Violence: Scenes involving physical violence, blood, and injuries.

Sensory Stimuli:
-Loud Gunshots and Explosions: Frequent, intense noises from military confrontations.

-Visually Graphic Violent Scenes: Detailed close-ups of combat and injuries.
-Dark Color Palette: Cold, dark, and gray tones dominate the setting.
-Technologically Altered Audio and Video Effects: Distorted sounds and visual effects representing the manipulated perception of the protagonists.
-Strong Contrasts: Shifts between intense, fast-paced action and quiet, unsettling moments.

Allex. Fassberg – Writing Group
Writing possible in any language, Schreiben in jeder Sprache möglich,  
Conversation in German/English, Gespräch auf Deutsch/Englisch

The writing group will focus on terms related to the German debate on anti-Semitism. The exchange is open and depends on what the participants want to share. It is therefore not possible to give specific content for the writing group.
Possible topics that can be addressed:
-Experiences of antisemitism.
-Experiences of racism (particularly anti-Muslim racism).

-Oppression.
-Silencing of diverse voices.
-Exclusion.

KÜFA

Allergens:
-Gluten: Gluten-containing bread is available, with a gluten-free alternative.

-Milk/Lactose or Soy: Options include dairy products with a soy-based alternative.

-Soy or Milk/Lactose: Options include soy products with a dairy-based alternative.

-Garlic.
-Coriander.
-Paprika

Rooms

There is continuous, step-free and level access (incl. kerb ramp) from the street to the building and to the hall with a width of at least 150 cm. The floor surface in the courtyard is slightly uneven.
Most performances take place in the auditorium, which is at ground level.
The hall is entered through a 194 cm wide double door. Then there is a second double door, which has an entrance dimension of 180 cm. The third double door, through which the audience enters the auditorium, is 136 cm wide. There is no lift.
In good weather, the bar is at ground level in the courtyard, in bad weather unfortunately only accessible via a staircase on the second floor. This bar is not accessible for wheelchair users. There are 17 steps between the first floor and the second floor.
There is space for wheelchairs or walking frames in the event hall/area and there is the option of reserving a particularly suitable seat and/or entering the hall early.

Barrierefree WC
There is a wheelchair-accessible toilet on the first floor of the building. Access to this toilet is via the corridor and is 198 cm wide. The entrance to the toilet is 79 cm wide.

How to find us

The nearest stop is U-Bahnhof Eberswalderstr.
The underground station has an elevator. The underground station is located at an intersection with a lot of car and pedestrian traffic.
From there, parts of the way to Ballhaus Ost are on cobblestones.
The theater entrance is through the archway in the courtyard of the building at Pappelallee 15.

Parking options
In Pappelallee there are parking spaces in the public area on the roadside. The theater cannot offer its own parking spaces.

Dramen der Gegenwart #2

The Festival »Dramen der Gegenwart #2« takes a look at the diversity and qualities of contemporary theater texts. A total of around 20 theater texts will be presented in a broad spectrum of forms.

 

Saturday Program:
10:00 Caffeine Drama – Reading Speed Dating I
12:00 Writing Chamber vs. Writers’ Room
13:00 Pearls & Swine – A Drama Parcours
18:00 Poetics Pulse
19:00 The Playwright Is Present I & II – The Writers’ Ensemble
21:00 The Playwright Is Present III & IV – The Authors’ Ensemble

 

Sunday Program:
10:00 Caffeine Drama – Reading Speeddating II
12:00 Collision 1: “Couple IV”
12:30 Collisions 2: “visible only when viewed. chance encounters”
13:00 Collisions 3: “HOMOSPHERE”
14:30 Ways and detours to authorship
16:00 Conclusion Dramas of the Present #2

Requiem For The Real

An actress stands on stage in front of a large screen, her thoughts in her past – and simultaneously in virtual worlds with VR glasses. A cascade of intertwined, immersive memory spaces emerges. A reality matroshka that begins with an inner-immersive play of the performer, continues through the virtual reality construction and the peculiar reality of a theater stage into the reality constructions of our world.

 

Rabea Kiel and Adolfina Fuck (Matthias Meppelink) have a longstanding collaboration, through Applied Theater Studies in Giessen and with the performance group Monster Truck. Since 2021, the duo has been exploring the medium of virtual reality as a performative tool with the aim of a productive misappropriation for theater.

Selfie & Ich

In a mobile performance through four private apartments in Neukölln, director Christiane Mudra provides insight into the lives of mentally ill people and describes the situation in Germany’s psychiatric institutions from the Nazi era to the present day. In the process, »Selfie & Ich« unmasks en passant the systemic deformation of our oh-so-happy meritocracy.

 

investigative
stands for journalistic long-term research that is based primarily on original sources and also uncovers unknown facts.

theater
plays out the research specifically in different formats. investigative theater experiments with digital tools and seeks interaction with the audience.

Labor Sonor

The fourth edition of the LABOR SONOR concert series 2023 – back at Ballhaus Ost with concerts and performances by Maikon K, the VanProject and Rabih Beaini. Sonic & aesthetic experiments between dance, music theater and analog techno.

 

Labor Sonor – the series for experimental music, film and performance – presents the spectrum of current experimental forms beyond genre-specific determinability – from real-time music to electronics, performance, audiovisual formats, conceptual music, new composed music and experimental pop.

Lautsprecher

Kompositionen von S. Ercklentz, E. Grosskopf, R. Hoyer, S. Roigk, S. Weismann, U. Wassermann. Mit Megaphonen, Mikrofonen, Flüstertüten und Handlautsprechern werden die Stimmen zu sich wandelnden Konstellationen choreografiert.

 

Die Maulwerker, Kollektiv für stimmliche Experimente, integrieren Elemente aus Performance Art, intermedialer Kunst und Choreografie in ihre Musik.

Ur-Oper – Das Finale

After a year of searching, we reach the finale of the original opera. After stops in Barbieland, the Spanish Civil War and outer space, the search now finds itself, ending in a story that only seems banal: a soap opera.

 

The Helmi Puppentheater Kollektiv from Berlin has been at Ballhaus Ost since 2006. They combine many artistic languages and directions in their shows, in which the Helmi puppets and a self-written music always take leading roles.

 

Notes on the Relaxed Performance

The light in the auditorium is not completely dimmed at any time and noises or movements of spectators are accepted and understood.
There is room for interaction & all reactions are welcome. However, no interaction with the audience is expected.

Content to expect:
• Loud music at the beginning and then recurring loud music &
singing
• English sentence fragments without translation
• In between recurring swear words
• Marking of a birth
• Violent action „kicks“
• Themes of : deception, soldiers who were at war, patriarchal family structures, climate crisis (different perspectives are
expressed), love
• Recurring sexist remarks

Should there be a need for a private pick-up service from the nearest bus stop (Eberswalder Straße), we ask that you contact us in good time. In addition, we would like to refer people over the age of 65 to the Malteser cultural escort service, which arranges voluntary cultural mentors for the journey to the performances.

For other needs not listed, please contact us: karten @ ballhausost.de

Die Übersetzung

ما تلاش می کنیم تا شیوه کاری خود را ترجمه کنیم. به زبان های مختلف، به شکل تصاویر و باز به نمایش برگردانیم. به همراه خسرو محمودی، بازیگر، که از اوقات فراغت خود برای ترجمانی رومان به فارسی استفاده می کند و برای او این سوال مطرح است که چگونه می توان “خوک داشتن” را به درستی ترجمه کرد.
به همراه سباستین کوناس، هنرمند صداپرداز، که درگیر این سوال است که از چه زمان، زبان به موسیقی تبدیل می شود و با احمد جمالی، مترجمی که از شغل روزمره خود می گوید. آنها این سوال ها را مطرح می کنند: تماشاچیِ ما واقعا کیست، چه دریافتی از این کار دارد، در تیاتر چه چیزی را تجربه می کند و چگونه می توان این را ترجمه کرد؟

 

Language is the house we live in and vorschlag:hammer want to open the doors of their house, let others in and rebuild it. They want to try to translate their theater. Into a multi-translated evening about translation, in which content and form are interdependent and which leads from the dominance of a spoken language to multilingualism and the offer of emancipated self-interpretation of images. A space in which many understand something, but no one understands everything.

 

vorschlag:hammer have been developing theater productions as a collective since 2009. In recent years, their performative narrative theater has opened up to a wide variety of aesthetic strategies, to visual-atmospheric or body-oriented works. They freely adapt existing material or develop research-based productions on ever new topics.

Das Krippenspiel

What would happen if Christmas didn’t exist?
Christmas is the most beautiful celebration of the year for most people, and yet everything often happens at the last minute. Many people associate Christmas only with stress and agony: Rushing through the stores to get the necessary, increasingly expensive gifts. But in a time of frantic speed, we need things to give us pause. A wintry world celebrates the breakthrough of love and hope.
God sends his Son to earth as a little helpless child. We experience God’s closeness to humanity. He shares his life with us, knows about joy and sorrow. He gives us hope, shows us how small beginnings can grow into great things. But it came to pass at that time…”, we all know the beginning of this story and also its end, but in the meantime the world has changed.
This year again we want to celebrate a morning of joy and reflection with memories and shining children’s eyes, a classic nativity play.

 

2023 really for the last time.

ANTIGONE pitched

»Antigone pitched« subjects the Antigone material to a queer crip reading, reducing it to three characters and a law-breaking act of care. Voices and gestures are distorted, alienated, and hysterified to the point of unfamiliarity: A hyperformalized play that complicates and poeticizes embodiment.

 

Under the label ANTISEPT, Julia*n Meding invites different collaborators to work on self-empowering readings of chronic illness / disability and alternative concepts of healing. Together the constellation develops rehearsal strategies and forms of sensual mediation.

La Memoria Futura – Las voces da las Abuelas
The Future Memory – The Voices of the Grandmothers

»La Memoria Futura« makes the material of the biographical family archive of the Abuelas de Plaza de Mayo accessible with a site-specific performance and subsequent sound installation. After the premiere in Buenos Aires at Parque de la Memoria, the multidisciplinary team from Argentina and Germany now brings the work to Ballhaus Ost and the neighboring Cemetery Park.

 

Las Abuelas de Plaza de Mayo was founded in Argentina in 1977 by the mothers of those who disappeared during the last Argentine dictatorship. Their goal is and has been to locate all the disappeared children and return them to their rightful families. In 1999, the Abuelas founded the Biographical Family Archive for the grandchildren who had not yet found out who their mothers and fathers had been. Today, this material has become one of the largest oral archives in Latin America, consisting of documents (photographs, writings, letters) and more than 2200 interviews, 144 of which belong to the grandmothers who have left their testimony so that the transmission through generations is not interrupted.

Spaßige Sache

Hysterisches Globusgefühl embark together with the audience on a search for pure and liberated fun, a utopian place where no one loses their laughter and everyone has an equal amount to laugh about.

 

The performance collective Hysterisches Globusgefühl (Berlin/Vienna) direct their artistic work against the heteronormative patriarchy with full heart and solidarity and develop utopias for an anti-racist, classless, queerfeminist and respectful future. In 2011 awarded the jury prize of the festival “Arena… der jungen Künste” for “Macht was: Macht nichts!”, the experiences of this first production became the basis for further performances, in which public and theater space are intertwined. At the center of their work stands the question of conscious action, political interaction and global malaise.

 

N O T E :
Discriminatory stereotypes are reproduced and negotiated. There are offers of participation and interaction that do not have to be accepted. At the end of the play, loud and expansive blowers are suddenly used.

SCHRUMPF! Songs & Dances

For families with children from 5 years

 

In SCHRUMPF’s version of »Songs & Dances about the Weather« about glaciers and rainmaking rituals, we see an excerpt, move along with the performers, hear their stories, and tell our own stories about rain and water.

 

LOUDsoft is a think tank for projects that create access to the world of classical or contemporary music and musical theater for children, young people and their parents. LOUDsoft was founded in 2018 by violinist and performer Daniella Strasfogel, out of an impulse to create family events that she herself would love to go to with her family. LOUDsoft seeks to build bridges between the worlds of children’s art and adult art, bringing interactive and challenging musical experiences to the stage for young people and their families.

Lilith und Samael

No sooner is the world created than a struggle for self-determination and equality begins: Lilith, the first woman of Adam, becomes the first fighter against patriarchy. Her permanent conflict of having to subordinate herself is discharged in arias and songs of contemporary music. The unconditional urge for self-determination is shown in tender but also very physical dance and fight scenes.

 

Anna Peschke works as a director for performance, music theater and Peking Opera in Europe and Asia. Together with the composer Christoph Enzel, she is currently also developing »Kinderlieder zum Wald – von einem Erwachsenen zu singen« and the choral piece »Officium für einen verbrannten Wald«.

Hotel Utopia

In »Hotel Utopia« Christiane Mudra and ensemble invite the audience to change perspectives. Equipped with passports from different countries and data based on real biographies, the audience embarks on a Kafkaesque transit room in search of recognition in a new country and encounters the challenges of the German welcome culture. Reports on the experiences of refugees and migrants are interwoven into the evening, as are background discussions with case workers and experts. On their journey through waiting areas and offices, the participants encounter stories of flight and migration and experience individual (in)freedom depending on nationality, global political situation or ranking in the “passport index”.

 

After »Selfie & Ich«, an evening about mental illness, meritocracy and the terror of happiness in private apartments in Neukölln, »Hotel Utopia« is the second part of a trilogy that deals with the de facto evaluation of people in the “community of values”.

Die Verwandlung

Manuel Gerst brings Kafka’s famous story to the stage as a happening from the event industry. References to bachelor parties and the reduction of aggression in groups meet action art and destruction art. Kafka’s parable is read here as a story about disability, in the field of tension between being injured and being intact. The aggression towards the deformed other in the story is turned into aggression against the object on stage. In the end, it doesn’t matter what position the audience takes – the dent remains the same. Let he who is without sin cast the first apple.

 

In his previous works, Manuel Gerst has repeatedly questioned and subverted existing power relations in theater in various constellations, including under the label Monster Truck. In his works he often deals with the thematic field of “disability” and economies in theater. »Die Verwandlung« is his first work at Ballhaus Ost.

 

There will be a post-show discussion on 11/17 following the performance (Retrospective Improvisation of Theater Scouting with Alisa Tretau).

Dangereuses

What bodies and which dances are necessary for the present times? What does it mean to be dangerous? Or dangereuses – implying a plural feminine entity. In this choreographic work, six performers understand the risk of intimacy, gentleness and pleasure as a subversive practice and cross it with elements of self-defense, protest, training and preparation for combat.

 

Julia B. Laperrière and her team work in an intersectional perspective and are interested in trust, respect and love as pillars for artistic collaboration. Composed of artists navigating between many countries and cultures, the mix of languages, places, practices, people and genres —both artistic and identity related— constitute an integral part of their practice. Seeing dance through a queer feminist lense,they believe in the body as a place of change and exchange.

Bodo

Bodo is 59, has no musical training and cannot read music. In 2014, he completed the album North End, on which he composed all the tracks himself and recorded them tone by tone with the help of a computer software. Based on Bodo’s music and story, Björnsson/Marx and an ensemble of professional musicians explore dilettantism as a creative force and aesthetic strategy. In a world full of experts, the aim is to take up the cudgels for the dilettante who has the courage to be creative on his or her own initiative, transcending professional and genre boundaries.

 

Since 2018, Thorbjörn Björnsson and Julia Marx have been forming the music theater duo Björnsson / Marx. Together they develop music theater pieces whose themes often move at the interface between the everyday and the existential, the intimate and the abstract.

Wider die Selbstbestimmung! Trans, inter, non-binär. 

The Federal Government’s Self-Determination Act (SBGG) is terrible. The Bundestag is due to vote on it in February. What can be done – aesthetically, politically, activistically?

 

As a loose follow-up to the joint work »ANTIGONE pitched«, we want to explore connections between aesthetics, desire and the law in an open discussion. The piece stages the pleasurable attitude of refusal, but also the pleasure of prohibition. We ask: How do we deal with the fact that queer and trans aesthetics are part of the repertoire on Berlin’s theater and music stages, while in the same city an extremely regressive and restrictive law can be passed on the political stage with almost no resistance?

 

With decolonial, anti-ableist, anti-racist and transfeminist perspectives, as well as in exchange with the alliance Selbst Bestimmung Selbst Gemacht (SBSG), which recently presented a self-determined counter-draft, we want to discuss possibilities for action together.

Studie von G. Anschütz, Dolomiten 1943.

What to do with the old photos of grandfathers in Nazi uniforms that you find in photo albums or framed on the sideboard? In a performative stage comic, Marie Simons and her collective take apart these photographs of soldierly masculinity, paint over them and question their impact on their own queer biography.

 

Marie Simons, Dennis Dieter Kopp, Nikolaus Kockel, Nora Schön and Angela Queins work at the interface of visual and performative arts. The group is united by a theoretical and practical examination of critical masculinity research and an intersectional understanding of feminism and queer identities.

You know the Feeling

»You know the Feeling« is a theater performance and a concert. Five covers of the pop song “People I’ve been sad” by Christine and the Queens, Blomen/Moré/Reiniger deal with identification, appropriation and populism as well as the social conditions of loneliness and coming together.

 

If you / Disappear, then I’m /Disappearing too
If you / Fall apart, then I’m / Falling behind you

 

Blomen/Moré/Reiniger are a theater collective and know each other from their studies at the University of Hildesheim. They are interested in the intersection of theater and reality and let autobiographical narratives meet fictional characters in their stage plays; as an intimate and at the same time public negotiation of their present.

 

On 10.2. after the performance: Karaoke Night with Soroa at the bar!

Recycling of Life

«Recycling of life» speculates on the eternal cycle of life and things: musically, playfully, between exhibition setting and loving chaos. Auf jeden Fall mehr bless this mess als Marie Kondō. Antje Schupp and her team recycle memories, experiences, knowledge and all our junk!

 

Antje Schupp is a director, performer, author, lecturer and loves interdisciplinary projects. She has worked with Ayman Nahle, a filmmaker from Beirut, on four projects and with set designer Christoph Rufer on countless others. Yanik Soland is a musician and composer. Antje and Yanik are artists in residence at the Kaserne Basel in 2023/24.

 

The performance is part of our guest performance series Berlin Basel Smash: from February 23 to March 9, we will be showing three pieces from the city on the Rhine at Ballhaus Ost. »Recycling of Life« by Antje Schupp | Ayman Nahle | Yanik Soland will be followed by »Court Fantasies« and »screening invisibilities« by Zino Wey.

Court Fantasies

Using imagination as a tool, performers Salma Said und Miriam Coretta Schulte shake rigid, seemingly unchangeable legal systems of asylum. They are inviting the audience to a collective listening experience:

 
 
Here we are, in 2099, and still, every person on Earth enjoys the right to freedom of movement. The gigantic fiction that used to divide people into “deserving visa” and “not deserving visa” we finally left behind us after decades of struggle. Tonight, an assembly takes place, in order to understand the recent insecurities. We want to recall how the activists of the past have been creating the future investing incredible work. We will be expecting you with love for archives and passion for fight – Yours, Salma and Miriam

 

About the Artists

Salma Said and Miriam Coretta Schulte are partners in crime, friendship and performance. Since 2018, the duo has developed an artistic practice in which the situative knowledge regarding their different backgrounds and contexts and their love for experimentation are paired with activism and imagination. Their first piece together »behind your eyeballs« was shown in 2023 as part of the »Introducing…« series at the Berlin Performing Arts Festival at Ballhaus Ost.

 

The performance is part of our guest performance series Berlin Basel Smash: from February 23 to March 9, we will be showing three pieces from the city on the Rhine at Ballhaus Ost. »Recycling of Life« by Antje Schupp | Ayman Nahle | Yanik Soland will be followed by »Court Fantasies« and »screening invisibilities« by Zino Wey.

screening invisibilities

»screening invisibilities« is an associative examination of invisibility. An encounter with the ambivalence of this political concept and a questioning of how we deal with it. Together with an ensemble of hearing and deaf artists, Basel director Zino Wey initiates a questioning of our perception. When does the body become a language medium? Which forms of language are we used to encountering? And who do we make invisible, even though we can see them? Signs, gestures, movement, dance and music are used to develop our own body languages and create a new (speaking) space that looks for similarities rather than differences.

A poetic-political manifesto for visibility.

A performance in sign language and spoken language.

 

For »screening invisibilities«, Zino Wey brings together a diverse ensemble from the fields of performance, dance, sign language art and music for a joint discussion and encounter.
Wey has been working as a director, set designer and author in various performative contexts at municipal and state theaters as well as in the independent scene since 2012. He has an ongoing collaboration with Ballhaus Ost, as do many of the artists involved.

 

The performance is part of our guest performance series Berlin Basel Smash: from February 23 to March 9, we will be showing three pieces from the city on the Rhine at Ballhaus Ost. »Recycling of Life« by Antje Schupp | Ayman Nahle | Yanik Soland will be followed by »Court Fantasies« and »screening invisibilities« by Zino Wey.

Falla

Throughout history, female gender identity has often been narrowly defined by the lack of the phallus. In »Falla«, choreographer Julia B. Laperrière and musician Pia Achternkamp address this problematic idea from a queer feminist perspective using the strap-on dildo as a transformative tool. Funny, playful, and rock’n roll!

 

Julia B. Laperrière is a French-Canadian choreographer based in Berlin since 2016. As an artist navigating between Berlin, Montpellier and Montreal, the heterogeneous mix of languages, places, practices, people and genres —both artistic and identity related— constitute an integral part of her practice. Lately, she has been interested in the representations of the female body on stage, new intimacies and dangerous dances. Julia and Pia collaborate since 2020.

 

On March 15, there will be an Artist talk after the performance.

 

N O T E :
Loud noises and flickering lights are part of the performance.
There is nudity. The performers tell personal sex stories during the performance.

Sommerfest

At the end of the season, we warmly invite all artists, neighbors and the audience to join us in the beginning of the summer break.

from 16:00 Coffee, children’s program and audio installation Berlin Amateur*innen
17:00 Guided tour of the house, cemetery park and history
from 18:00 Music and surprises
21:00 EM-Viewing in the courtyard

Free admission and food on a donation basis.

At the clothes swap, beautiful but not worn out favorites or costumes no more in use can find new owners. (Please bring a maximum of 5 items, freshly laundered).

We would be delighted if you could join us! Registration is not necessary.

Das Leuchten / The Glow

I dream of a mountain with water on it. Like a cap of snow on a roof in winter, there was a deep blue layer of water on the mountain. A kayaker was traveling in it.

 

Fascinated by the idea of social dreaming, SEE! Kollektiv invites the audience into a world of light, dance and beats. The stage becomes a fragile but spectacular place where it seems possible to emancipate oneself from the ideologies of our reality. It pulsates. The space changes. It lights up!

 

The performance collective SEE! (SE Struck, Alexandra Knieps) from Cologne has been developing hybrid performance formats since 2005 and uses a self-sufficient formal language to stage open networks that always address communitization and participation on theater stages and in urban social contexts. They performed at Ballhaus Ost for the first time in 2015 with »Volumenjoker« and most recently showed »Bioswop«. »Das Leuchten / The Glow« is their first premiere in Berlin.

 

SENSITIVITY ADVICE:

Sine wave tones and deep bass sounds are used in the performance. At times, the audience is exposed to bright backlighting.

Die Suche nach der Ur-Oper

Ur-Oper #14 »ICH FRIDA Du DIEGO«

In the art world, the relationship between two artists is often a dance between rivalry and inspiration. There is a spark of competition that drives them to surpass themselves, although their symbiosis is fueled by passion for their work. In the studio, the colors of their canvases mingle in the air, creating a creative atmosphere. Their works differ from day and night: one draws reality in sharp contrasts and hard lines, the other radiates in the colors of dream and fantasy. Despite their differences, they find a common rhythm. Their eyes speak one language. But things are bubbling under the surface. Every success of the other is an incentive to question oneself. Every recognition is a silent call for self-improvement. They are companions and competitors at the same time, caught in an eternal cycle of admiration and jealousy.
Together with the artist Okka-Esther Hungerbühler , whose works deal with dreamlike materials in the microcosm, Helmi embarks on a search for the Uroper.

 

Das Helmi Puppentheater Kollektiv from Berlin has been at Ballhaus Ost since 2006. They combine many artistic languages and directions in their shows, in which the Helmi puppets and a self-written music always take leading roles.
 
With their series »Die Suche nach der Ur-Oper« (The Search for the Pre-Opera), they have been performing on their own small new stage at the Ballhaus Ost bar every month since January 2023. Because: What you can’t talk about because it’s somehow so big and incomprehensible, you can maybe sing about. (Emir Tebatebai) 

multiple memberships

In a solo with a Polaroid camera, Rodrigo Zorzanelli stages performative self-portraits based on personal experiences of citizenship acquisition and coming out as non-binary person. The photos mask, shine, disturb the space and the body.

 

Rodrigo Zorzanelli performs, writes and produces in Berlin’s independent theater and performance scene. Rodrigo’s work deals with non-binarity, feminist autofiction, invisible structures, bureaucracy and belonging. »multiple memberships« is Rodrigo’s first work at Ballhaus Ost.

Meet Your Dancestors!

Tentacular Figurings invite you to an undisciplined, r/evolutionary performance.
Join us to encounter speculative embodiments of our common queer ancestors. Leave your »sapiens« at the checkroom and Meet Your Dancestors!

 

Tentacular Figurings Tentacular Figurings is an exploratory, multi-disciplinary performance collective. Core team are Mika Bangemann and Eddie N. von Seckendorff. Since 2021, they have been developing ambiguous bodies beyond the human in their performances. »Meet Your Dancestors!« is their first work at Ballhaus Ost.

Queerokratia 

»Queerokratia – Federal Conference for Self-Determination«. Queer and TIN* politics, activism and self-organization will come together here in Berlin. Beyond the boundaries of political forms of organization and action, we want to ask: What are progressive queer politics today? What roles do different actors play in this?

 

Program

 

30.5. / 17:00-18:30 / Kick Off at Ballhaus Ost
1.6.  /from 23:00/ Party at Aeve
2.6. / 12:00-15:00 / Conclusion with presentation of the results at Ballhaus Ost

2.6. / 17:00-21:00 / Exhibition of the event space created by Fadi Aljabour: a political-poetic spatial installation for the Queerocracy Conference in the Vierte Welt

WAHLWERBUNGS-CAMP

You think it’s important that AfD & Co do badly in the elections? You are not (yet) organized in parties? And you want to motivate other people to vote for a democratic and diverse Europe? VOTE with us!

At the VOTER ADVERTISING CAMP on 3.6. from 18:00, you will receive materials, a knowledge base for the upcoming discussions and exchange with other campaigners. Whether you are new to getting people to vote or already experienced in political conversations and want to share your knowledge – come along!
Please register for our planning: wahlwerbung@ballhausost.de

The entire program of the action week here: https://dievielen.de/kalender/aktionswoche-europa-den-vielen

COMMON TONGUE: Builders of the Country

The performance written and directed by Rodrigó Balogh and Márton Illés narrates the societal changes in socialist and later in the free, democratic Hungary. It celebrates the unseen builders of Hungarian history. The production is inspired by real events and individuals, but leaves plenty of room for imagination. How do the many sacrifices affect their family and personal relationships?

 

Independent Theater Hungary has been operating since 2007. Our aim is to start a conversation about social issues that touch all of us, this way drawing attention to personal responsibility: what we, as individuals can do to improve the situation.

Labor Sonor

Heather Frasch + Parallax »Atmospheric Ghosts Lights II«
– Break-
Zacarias Maia »my homage to the new complexity«
»Two directions«
– Break –
Sophie Watzlawick + Marcello S. Busato »Où ces limites qui nous guettent, se mettent à vaciller« 

 

Labor Sonor – the series for experimental music, film and performance – presents Heather Frasch with the Norwegian trio Parallax – Sophie Watzlawick’s new 16mm film with live music by Marcello Busato – and the Basel percussionist and performer Zacarias Maia.

 

Labor Sonor – the series for experimental music, film and performance – presents the spectrum of current experimental forms beyond genre-specific definability – from real-time music to electronics, performance, audiovisual formats, conceptual music, new composed music and experimental pop.

COMMON TONGUE: Trauma Kink

»Trauma Kink« is a show about how early and adult traumas define our perception of intimacy and pleasure. The show opens the conversation about trauma in a natural way, through the stories of five artists who open up to the public in a performative approach that combines confessional elements with fiction and the hedonistic imaginary.
A show about trauma and hedonism, beyond dictionary definitions, but above all about the healing power of vulnerability.

 

Giuvlipen, Romania’s first Roma feminist theater company, creates bold, experimental and a highly performative art since 2014. Founded by Mihaela Dragan and Zita Moldovan, we spotlight silenced Roma voices through performative stories, seeking partners to amplify our impact. Giuvlipen offers groundbreaking Roma feminist theater that challenges social norms and amplifies marginalized voices through innovative, performative storytelling. 

Berliner Amateur*innen

In the audio installation, the voices of amateur footballers form an alternative narrative to highly commercialized professional soccer. While selected European Championship matches are played in the theater garden during a leisurely viewing, stories away from glamour and fame become audible in the changing room.

 

Hieu Hoang and Kristofer Gudmundsson work mainly as theater makers. They have always followed soccer and, conversely, soccer has always followed them. So persistently that they have resumed playing soccer as amateurs after a decade-long break. “Berliner Amateur*innen” is their first joint work at Ballhaus Ost, with which they have each been associated for over ten years.

family creatures

Together with a licking tongue, a melodramatic curtain, a dog, three swans and a big sister, we set off in search of the oddities of F\*A\*M\*I\*L\*Y.

 

PINSKER+BERNHARDTund create performances for a young and cross-generational audience. With an absurd-fragmentary and playful-confrontational aesthetic, they project social phenomena and collective biographies into spatial arrangements and objects.

Fighting 4 Fear

In this multimedia performance, two female artists and two young female kickboxers examine the relationship between female fear and patriarchal dominance culture and test martial arts as a means of transforming fear into strength.

 

Between performance, theater and video, artists Klara Kirsch and Milena Bühring have been working as a duo and in changing constellations since 2020. For »Fighting 4 Fear«, they are collaborating for the second time with dramaturge Enrico Bordieri. It is their first piece in Ballhaus Ost.

Normans Norm

What does normal actually mean? And who decides that? Come to the funfair, let’s take a spin on the disco carousel! Together we’ll set the dancefloor of normality in motion and dance against society’s centrifugal forces.

 

Sebastian Mauksch & team stage theatre for young audiences as a shared space of experience for audience and performers. With Ballhaus Ost, they have created productions such as »Warum der Hund das Fleisch durch den Fluss trägt«, »Junge Leute« and »Fennymore oder wie man Dackel im Salzmantel macht« (invitations to Augenblick Mal! and Wildwechsel 2021).

Dogs of Love

In »Dogs of Love,« the queer performance collective ONCE WE WERE ISLANDS explores the intimate connection between two people that transcends space and time. Starting from their own love for each other in the here and now, the two performers* move away from each other in the course of the performance and pass through time. On the virtual path into the future and the past, respectively, they explore and relive the equally real and fictional history of queer togetherness. Located in the interstice of visual art, performance, dance and scientific research, Chris Gylee and Richard Aslan use (auto)biographical narration as well as meticulous research on life realities that go beyond the consciousness of heteronormative “normality” for »Dogs of Love«. The result is a semi-fictional family tree of queer belonging, in which Reinaldo Arenas appears as well as Marsha P. Johnson, Sylvia Rivera, Jack Bee Garland, Audre Lorde and Samuel R. Delany. Chris Gylee and Aslan are working as a queer performance collective under the name ONCE WE WERE ISLANDS since 2012 in the inexhaustible field between disciplines, combining theater, film, choreography and scientific research. For their poetic works, the two performers* use (auto-) biographical narration as well as meticulous research on queer life realities. The starting point of their projects are both selected research questions and a strong connection to people who see the world from a perspective that is unfamiliar to them. perspective that is unfamiliar to them. Their collaborators may be specialists, have a particular life experience or skill, think about things in fascinating ways, or simply be open to playful exploration. Their ongoing research is dedicated to diverse phenomena such as queerness, empathy, marginalization, and activism. To realize these working focuses, they use elements of performance, theater, installation, and choreography as raw material. The result is a series of contemporary rituals closely linked to performative mechanisms and laboratories. These similarly charged spaces open up uncanny experiences, provoke surprising thought patterns, and shed light on human interaction.

Fennymore oder Wie man Dackel im Salzmantel macht

»Say YES! Yes or Nice! You have the choice! Or do the Monbijou da-da-dance? Make up your mind, Fennymore!« What is this strange little town where it rains all the time and everyone has to wear a rain hat? Where Doctor Uhrengut – mayor, doctor, hat monopolist and gymnastics club chairman all in one – is constantly singing the praises of the brave new world? It’s election time and Doctor Uhrengut now wants to be mayor for L-L-L-life. Fennymore, that is the childlike main character of the story, is also allowed to vote. But before that, he wanders through the small town and meets Aunt Else in her pub »Zum Dackel im Salzmantel«, Fizzy from the drinks warehouse, the sports teacher Mr. Muckenthaler, the stubborn bicycle Monbijou and – wait! – was that death back there? »Fennymore oder Wie man Dackel im Salzmantel macht« is an interactive acting performance with the audience as the main character. The stage is a walk-on and experienceable art installation with sound-composed light spaces. At the end is the mayoral election for life. The outcome depends on the result of the election and is decided anew at each performance. Kirsten Reinhardt works as a freelance writer. Her debut »Fennymore oder Wie man Dackel im Salzmantel macht« was awarded the Oldenbug Children’s and Young People’s Book Prize in 2009 as an unpublished manuscript and translated into five languages. Since then, two more children’s novels and a picture book have been published by Carlsen Verlag.Sebastian Mauksch is a freelance director and dramaturge for performance theater. He directed the youth venues of the Volksbühne am Rosa-Luxemburg-Platz, and his works with P14 made guest appearances at numerous festivals. From 2008 he staged world premieres at Ballhaus Ost with texts by David Lindemann, Helene Hegemann and Anne Tismer. For the Berliner Festspiele he is researching the art of adolescence.

All In

What happens when togetherness becomes threeness? »All In« deals with triadic love relationships in which three people meet in the constellation of a triangle. Loving as a threesome questions just about everything we think we know about love, and requires the participants to enter a new terrain where there are few experiences and templates to fall back on. Three performer:s weave together collected interview material from people with triadic relationship experience into a polyphonic web of acting, dancing and singing that foregrounds the diversity of love forms. The socially accepted dual relationship model is questioned and encouraged to think differently about love and to open up new spaces and possibilities. And not just for love, but for all areas of life in which we limit ourselves by clinging to seemingly fixed models.   Daniel Hellmann is a dance and theater maker, singer and performer living and working between Zurich and Berlin. Layton Lachman is a performer, dancer and choreographer who has recently moved to Berlin after seven years of working in San Francisco. Anne Welenc is an actress and performance artist living in Berlin. All In is the first joint work of the three artists.

Traumboy and Traumgirl

Daniel is a sex worker. In the solo performance »Traumboy« he tells about his experiences as a prostitute. He tells why he took up this work, describes his customers and their wishes. The audience experiences a young man who loves to prostitute himself. The only problem: the stigma. Kim is an actress. She is also a sex worker, once sold soap, is a barmaid, German, Polish… In »Traumgirl« Kim negotiates what it is like to work in the border area between “real work”, performance and so-called “dirty work”. »Traumboy and Traumgirl« move between documentary theater and autofiction and question the double standards of a thoroughly capitalized and oversexualized society as well as the meaning of sex and work in the neoliberal system. The bodies on stage become projection surfaces for fears, fantasies and contradictions. What is a woman/man allowed to reveal about herself? What not? And who pays the price? Daniel Hellmann is a dance and theater maker, singer and performer. His works examine bodies, bodily relationships and desire, and question social norms in the fields of sexuality, human and animal rights. After »Requiem for a Piece of Meat« and »All In«, »Traumboy« is the third work Daniel Hellmann presents at Ballhaus Ost. Anne Welenc is an actress and performer. Her works are research-based and deal with transcendence. She is interested in combining clear narratives with surreal elements.

Krispy Dream. Ein Portier denkt über sein Leben nach

The devised play tells of a porter. An outsider who works where others live. In the lobby in a city that never sleeps. A story about a working cosmos, the American Dream and a character that collapses when it can no longer be itself.

 

Meta Imbiss, founded by Stella Nikisch and Nathalie Schatz, mixes pop culture with theater, thinks content and aesthetics together and likes to collaborate, in short: it stands for fire, fun and fashion.

Ambient 2: War of the Worlds

 

In his Ambient Theater series, Daniel Schrader develops relaxed forms of spoken theater. With headphones on their ears and their eyes on the landscape, participants experience the sci-fi radio play “War of the Worlds” by H.G. Wells, park life and live interventions by the Performers.

 

Free admission on 2.9. as part of the Kultursommerfestival. Registration at: karten@ballhausost.de

Junge Leute

In his documentary »barfuß und ohne hut« (“barefoot and without a hat”), Jürgen Böttcher portrayed “Young People” (the working title at the time) with their visions of the future in the free space between school and working life in 1964. In the middle of Wedding, the Humboldthain Club will now be transformed into a beach bar on the Baltic Sea coast, where six performers will venture a reenactment with the audience: with music, in exhilaration, in movement, but also in relaxation, they will compare scenes from the film with their own professional hopes and desires.

 

Sebastian Mauksch & Team stage participatory theater for children and young people and research the art of adolescence for the Berliner Festspiele. Their works have been invited to AUGENBLICK MAL! – The Festival of Theater for Young Audiences as well as to WILDWECHSEL – The Children’s & Youth Theater Festival in Eastern Germany, among others.

TWO. is not a solo

Lisa Verbelen will not make a solo this time. In »TWO.« she forms a duo with celebrated jazz musician Hendrik Lasure.»TWO.« is an exercise to reverse thinking in opposites and to experience what is in between two extremes. Expect a musical and theatrical concert, words and music that make you feel and think, both hard and soft, both dark and light, with smoke and fire, water in the desert, not ugly nor beautiful, all yin and yang, about you and me.


 

Lisa Verbelen (1988) studied Theatrical Performance at De Toneelacademie in Maastricht, and a Master in Music Theatre at the Conservatory of Den Haag.  Together with five others, Lisa founded the theatre collective BOG. in 2013. BOG. is based in Amsterdam, The Netherlands and creates performances based on texts written by the creators themselves.  

Hendrik Lasure (1997) studied piano at the Royal Conservatory of Brussels and was awarded with the Toots Thielemans Jazz Award at his graduation in 2017.  Hendrik is a musical jack of all trades, known for his band SCHNTZL, the ensemble Warm Bad, the trio Thunderblender, or APQ, or Bombataz or in the band of An Pierlé.

The extended voice

Margarete Huber »Kartographie« (2022, UA)

Rebecca Saunders »O« (2017) 

Travis Just »Quintet 1: Five Voices« (2006/ Version 2022) 

Andrea Neumann »Rencontre 5« (2022, UA)

Boris Filanovsky »Mariupol« (2022, UA)

 

The program »The extended voice« will present vocal music of the 21st century in the thematic field opened by the coordinates of ‘extended vocal techniques’, ‘language as musical material’ and ‘voice as physicality in movement’.

 

The Maulwerkers are a vocal ensemble, music performers, music theater makers and a collective of composers. They are specialists in the intersections of music and theater, music and language, in the interpenetration of music and space, of sound and silence.

SCHRUMPF! The extended voice

The Maulwerkers present brand new pieces, freshly written for them, show you the special sounds they have developed and perfected over the years and teach you these extended techniques. Together we will make the Ballhaus Ost ring with our bubbling, shouting, warbling, hissing and much more!

 

The Maulwerkers are a vocal ensemble, music performers, music theater makers and a collective of composers. They are specialists in the intersections of music and theater, music and language, in the interpenetration of music and space, of sound and silence.

At SCHRUMPF! Berlin ensembles present their current productions – in family format. New art forms are discovered, places explored, movements tried out, sounds listened to – and everyone can join in.

Daniella Strasfogel is a violinist, performer and facilitator in Berlin. She is a founding member of the soloist ensemble Kaleidoskop in Berlin and founded LOUDsoft in 2018, out of the impulse to create multidimensional musical experiences for and with families.

ANAL.IZANDO

. . . in the dark, starry sky in the middle of the sea — still mirroring water — I cannot tell where the line is between sea and sky; looking into my own eyes, I see both reality and fantasy reflecting back at me . . . 

I have met several selves of mine: so I am never alone; I’m not only one thing, I’m not only my body. I am a question mark.  »ANAL.IZANDO« exists within this ____?____ as a continuous transformation through non-binary figures — mythological, technological, corporal and non-corporal, — as projections of my utopian consciouses. Flowing through a constant state of becoming, it oscillates in an ecstasy of multi-layered selves. This solo performance outlines the complex and paradoxical endeavour of embracing a constant state of change, embracing reflection, shadow, ecstasy, and my question mark, while re-writing pleasure into the stories we tell about transformation and becoming. 

ronald berger is a non-binary dancer and performer from Costa Rica based in Berlin. Their connection to nature and its performative qualities influenced ronald. The conflict between their sexuality and the strong catholic and chauvinist context of their natal country, inspires debates, analysis and questions regarding social behavior. 


 

N O T E:

The play explores themes of sexuality, among other things, and includes depictions of nudity.

Stroboscopic effects are used in this performance.

 

Planet Lubunya 

»Planet Lubunya« is a queer sci-fi journey into space with multidisciplinary performative practices and live music. It is a critical journey into space searching for ultimate utopia while using humor as a vehicel.

The project was initiated by İrem Aydın (Berlin) and Efe Durmaz (İstanbul) in 2020 as a format for digital solidarity between queer people in Turkey and Germany. It now takes off as a theater production with (mainly) Berlin based artists and is heading towards interstellar collaborations with artists from a multitude of places.

Gasoline Queen

At the annual small town folk festival, two former best friends meet again after a long radio silence. Anna’s career as a racer has taken off in the meantime and Milena is in the middle of her quarterlife crisis. Between Gasoline Queen choices and BFF memories, they try to revive their relationship and face their life choices.

A queer musical about friendship, Y2K nostalgia, the absurdity of heteronormative traditions and everyday competitive culture.

cmd+c was founded by the couple Marina Prados and Paula Knüpling with the intention to create queer structures in front of and behind the stage and to deal with them in a fair, respectful and creative way. Works have already been seen at Volksbühne, Schaubude and Ballhaus Ost, most recently »Ladybitch – ein Theaterabend über den Untergang Franz Kramers«

Bioswop

Six performers exchange their biographies with each other. Biographies as texts and postures that are stored in our bodies. A jaw dances the posture choreo of the will to rise, a back wheel has internalized the perfect turn of shame. Every biography is a singular narrative that never belongs to us alone.

 

The performance collective SEE! (SE Struck, Alexandra Knieps) from Cologne has been developing hybrid performance formats since 2005, staging open networks with a self-sufficient formal language that always addresses communalization and participation on theater stages and in urban social contexts. They were at Ballhaus Ost for the first time in 2018 with »ok panik« and most recently presented the dance solo »Sonderbare IRRE«, which was already their third invitation to the theater festival FAVORITEN.

Das kranke Haus

As part of NO LIMITS – Disability & Performing Arts Festival 2022

 

“Who actually says what is sick – and what is healthy? As gods in white, the vorschlag:hammer collective and Theater Hora question supposed certainties of the health system – and have a lot of fun in the process.” (Valeria Heintges, nachtkritik.de)

 

N O T E:

The performance takes place with the auditorium darkened and the topics of hospital, surgery and death are discussed.

The Dan Daw Show

As part of NO LIMITS – Disability & Performing Arts Festival 2022

 

Nominated for the 2021 National Dance Awards the intimate performance is a peep into the shiny and sweaty push pull of living with shame while bursting with pride.

 

N O T E: 

The play is recommended for audiences 16 and older. In it there are depictions of kink experiences, suffocation, humiliation, dominant behavior and explicit sexuality and language, and feelings of strangeness are described. Part of the performance is loud noises, flashing lights and sexy people with disabilities.

Schiffbruch mit Zuschauenden (Fünf Etüden)

If the climate and corona crises make us aware of our fragility, Sebastian Blasius and his accomplices experiment in five prototypical etudes with a theater model that starts from precisely these experiences: What are the potentials of a ‘theater of the unsovereign’?

 

The director, choreographer and theater scholar Sebastian Blasius realizes projects at the interface of performing, visual and acoustic arts. At Ballhaus Ost, he most recently showed »Die Räuber der Geschichte«.

 

On Nov. 25, 2022, following the performance, there will be a conversation with the team, »Vom Versuch, Theater von Fragilität ausgehend zu denken,« moderated by Dr. Marcus Quent (University of the Arts, Berlin).

Sexy Straight White People

A film whose image does not show itself. An exhibition whose context is missing. A song without artists. A piece within a piece without a piece. Identities that flush down the toilet. »Sexy Straight White People« is a theatrical performance about the power of gender identities. vT.corp challenge habits of seeing, living and sexing to question the lifestyles and loves of the heteronormative mainstream.

 

Hannah Müller and Max Gadow are a sexy white artist couple from Hamburg. Known as virtuellestheater since 2015 and merged into vT.corp at the beginning of 2020, they are already a well-established team at Ballhaus Ost. Most recently, they invited friends to spend time with them as part of “It’s about time”. Very close to the zeitgeist and extremely adept at transforming between the arts, their performances form hybrids of video art, performing arts, music and exhibition.

Homecoming – Greatest Hits!

13 queer artists are developing a collection of multi-media artworks – an EP, a book, films, an online archive, and a live event – in response to the queer language Damiá and the political and artistic questions it raises.

 

The work is available digitally via a website archive – www.queertongue.com – and in limited edition analog formats. On December 02, 2022, the EP will be released online.

Ein Fan aus Thüringen

Once upon a time there was a fan from Thuringia. He was enchanted by a famous tennis player from West Germany. But one day, a nasty, moaning opponent from Yugoslavia appeared on the scene….

 

The piece tells the story of the attack on tennis star Monica Seles in the context of the global political events in the early 1990s and seeks ways out of media tales of good and evil, East and West, perpetrator and victim.

 

In his work as a director Demjan Duran deals with his country of birth, Yugoslavia. By researching the past, he digs out themes into and for today, and places them in an overall social context. »Ein Fan aus Thüringen« is his first piece in Berlin.

Fleshdance

The documentary performance deals with the meaning of the body – the flesh – in today’s society. Three performers navigate through live music, live video and pan-European interviews with protagonists from the porn industry, the church, the food industry, and many more.

 

N O T E :
Part of the performance includes loud noises and flickering lights.

Content Note

The performance addresses topics of sexual abuse and cannibalism and works on the video level with footage of raw flesh.

Liquid Ecstasy

The multimedia performance is an allegorical performance-essay that speculates about the possibilities of returning to a primordial state of fluid equality amongst all lifeforms. With little action and much space for mind-wondering it invites to linger and digress while listening to atmospheric water sounds, pounding bass drums or the seductive voice of Baby Marcel.

 

In his works Max Gadow focuses on the investigation of Western myths and power structures and derives performative processes from them. The formats range from installations to workshops and stage productions.