17:00 - 23:00
Kristofer Gudmundsson & Hieu Hoang



17:00 - 23:00
Kristofer Gudmundsson & Hieu Hoang



10:00 for schools



17:00 - 23:00
Kristofer Gudmundsson & Hieu Hoang









20:00 - 23:00
Kristofer Gudmundsson & Hieu Hoang



17:00 - 23:00
Kristofer Gudmundsson & Hieu Hoang



20:00 Premiere
Klara Kirsch | Milena Bühring | Enrico Bordieri



Klara Kirsch | Milena Bühring | Enrico Bordieri



17:00 - 23:00
Kristofer Gudmundsson & Hieu Hoang



Klara Kirsch | Milena Bühring | Enrico Bordieri



17:00 - 23:00
Kristofer Gudmundsson & Hieu Hoang



09:00 for schools
Sebastian Mauksch & Team



11:00 for schools
Sebastian Mauksch & Team



09:00 for schools
Sebastian Mauksch & Team



11:00 for schools
Sebastian Mauksch & Team



17:00 - 23:00
Kristofer Gudmundsson & Hieu Hoang



Sebastian Mauksch & Team



18:00 - 23:00
Kristofer Gudmundsson & Hieu Hoang



Sebastian Mauksch & Team

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.

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.


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

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.


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 &
• 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 @

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.


This time 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.

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.

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).


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 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.


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.

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.



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 – 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?




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


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:

The entire program of the action week here:

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.


»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:

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.


. . . 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«


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,


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 – – 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.


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.

KLITTERN (aesopica)

Apart from the flock, a sheep encounters a wolf. To avoid being eaten, it devises a ruse. It asks the wolf to play the flute so it can dance one last time…

Based on a fable ascribed to the ancient poet and slave Aesop, the piece investigates figurations of resistance within asymmetrical power relations.


In »Queens« Mary Stuart and Elizabeth I are two washed-up, undead drag queens who have been living a shared existence in Limbo for some 500 years. Until an earthquake opens the gates to the present for them…


The piece is Anne Welenc’ writing and directing debut. Most recently, she has appeared as an actress in transdisciplinary performance projects such as »All in« and »Traumgirl.« In »Queens« she continues this practice by expanding the classical theater material with impulses from related performing arts.


N O T E:
Part of the performance includes loud noises, flickering lights (strobe effects) and fog. There are depictions and mentions of earthquakes, natural disasters, death, murder and explicit sexuality in it.

Dos Vidas. Zwei Leben

How much inequality can a global friendship take? Jorge Antonio Arias Cortez was born in May 1985 in Oruro in the Bolivian Altiplano, Nicola Fritzen in October 1978 in Berlin. For »Dos Vidas«, the two befriended actora subject their biographies to a comparison and stress test – with all the extremes, high points and painful details.


Since 1991 KLARA has been exploring different theatrical languages, new dramaturgies, and the blending of fictional and documentary performance. The two protagonists of »Dos Vidas« already know each other from the long-term research process for the last work »Palmasola«, which was shown at Ballhaus Ost in 2022.


Following the performance on Sunday, there will be a discussion format for German-Spanish language learning tandems. All language levels are welcome and no registration is necessary.

Después de la representación del domingo, hablaremos de lo que hemos visto en alemán y en español (tandems) para practicar nuestros conocimientos lingüísticos. Si es necesario, ¡con manos y pies – todos los niveles de idiomas son bienvenidos! El intercambio lingüístico es gratuito.

The Crossing

Across an unimaginable void lies a world inhabited only by Queer people. The theatre piece tells the story of how cracks arise in this utopia. Written and performed in Damiá, a Queer language, »The Crossing« asks if brand new words could be the place we finally build a home.


Written and performed entirely in Damiá, a Queer art-language developed by Aslan since they were a teenager, The Crossing was originally conceived of as a live stage performance. This film adaptation was created after the premiere and 2022 shows were cancelled due to COVID. The film is available online, free of charge, for two weeks from 28th February to 13th March 2023. The text is translated for the audience with subtitles into English and German.


Since 2012, Queer performance collective ONCE WE WERE ISLANDS — Chris Gylee and Aslan — have worked in the fertile ground between disciplines, combining theatre, film, choreography and research. The two performers deploy (auto)biographical narrative as well as meticulous research on Queer life realities for their poetic works.

bye, bye, bye

The theater collective copy & waste places itself at the side of the dying and assembles their feverish narratives, great songs and otherworldly images into a many-voiced monologue for one actor. Hannes Schumacher plays and speaks Dostoyevsky and Kleist, Milow and Weil, Hölderlin and Schulze-Erdel and slips into the costumes of great paintings and film scenes.


The theater and performance collective copy & waste has been realizing plays since 2007. After works about the collapse of cities, the end of work and cancellation of nature, it dedicates its current series »Theater of Death« to dying. »bye, bye, bye« is the second part of this series after the theaterfilm »Besides, it’s always been the others who died«.


Following the performance on 4.3. the third part of »Die Suche nach der Ur-Oper« by Das Helmi will take place at the bar.

The Eating Show

Three vocalists cook up a culinary experience from the internet healing phenomena Eating Show (Muk-bang) and ASMR, spiced with a global social problem: racially motivated violence against Asians, from the 20th century to current Asian Hate by COVID-19. With a fusion sound cuisine of internet cult, experimental vocal music and Asian world music, the piece shows the unheard perspectives of  Asians and invites the audience to question their own role in the post-migrant society.

N O T E:
The play addresses anti-Asian violence and is therefore recommended for audiences 16 and older


Hang Su is a composer of new music. He works on performative projects and experiments with new forms of musical theater.


Where can a group drift?
In »FIVE« five dancers investigate different arrangements, dynamics and poses within a group. They move between geometric formations, swarm behavior, band poses and chaos, work with movement motifs of packs and packs and repeatedly question the relationship between individual and group. They rock each other up, and are on the lookout for tipping moments in which the group body goes out of shape and tips over into the destructive.


After many duets by Florian Bücking and Raisa Kröger under the label bücking&kröger in recent years, the ensemble piece »FIVE« is an attempt to extend their dance / choreographic practice by working with several dancers and exploring the sculptural possibilities of a group body.

– Schon cool, was da alles möglich ist!

Come and play! Throw all your heritage into the balance.
A 40-something woman wants to have a baby and invites the audience to play the game of life with her. Based on scientific and social developments, it is about the very personal gut feeling and socially profound decisions…


After the performances »Die Natur der Kinder« (2016), »Unser Erbe« (2018) and »Good Advice« (2021), willems&kiderlen continue their artistic research on physical, social and material heritage and passing on. »Das Erbe – Schon cool, was da alles möglich ist!« is based on interviews with people affected by a heavily burdened heritage as well as with experts and scientists.

Drag & Drum

Horwitz|Shapiro|Wagner investigate, rewrite and transform Jewish and queer rituals and create a sound space for the drag of religion between dance music and contemporary sounds. They situate traditions and histories as artistic practice and write a herstory of their own history with the political responsibility of marginalization as queer, Jewish artists.


Theater maker Heinrich Horwitz and drummer Jonathan Shapiro have been experimenting together since 2018 in changing constellations and genres at the intersections of music, performance, dance and language. After »DREAMS*« (Nürnberg 2022), »Drag & Drum« at Ballhaus Ost is their second collaborative work with performer, opera singer, songwriter and drag queen Shlomi Moto Wagner aka. Mazy Mazeltov.

Society Intact

A post-apocalyptic chamber play about the social center and the brutality of the normal. While everything is falling apart outside, a small piece of the good life still remains in Sector 75B. “Why,” WOMAN and MAN ask each other, “should you give things up in such hard times – especially when you’re trying so hard to be a good person in the process?”


FEELINGS comprises the stage, sound and online works, artistic research, games and feelings that Jil Dreyer and Josef Mehling have been developing with and for each other since 2017. They have previously shown work at the Staatstheater Mainz, FELD Theater Berlin and Gessnerallee Zurich, among others. »Society Intact« is their first work at Ballhaus Ost.


N O T E:
Part of the performance includes loud noises and flickering lights.
Prior to the performance, there is the option of “early boarding.” This means that those who wish can be given more time and, if necessary, assistance in entering the auditorium, finding a seat and sitting down.

Content Note

On stage, a white couple presents itself as “normal” and distinguishes itself from the socially devalued. In doing so, they use, among other things, classist and racist argumentation patterns.

One scene explicitly deals with fatphobia.

There are representations of sex.

Suicidal thoughts and eating people are mentioned but not depicted.

Feel free to contact us with questions about these scenes via info @ ballhausost . de


Bulimia literally means “bull hunger”, so Anna Kirstine Linke throws themself and their inner bulls into the arena. Between the Pope and Madonna, as bullfighter and bull, Linke asks whether eating disorders* are protests against binary or sexist structures or how these structures produce eating disorders*?


Author, director, performer and bodyworker Anna Kirstine Linke studied Philosophie-Künste-Medien in Hildesheim, directing at the HfMT and the ZHdK & believes in the power of vulnerability. Parallel to »Stierhunger«, Linke asks in »Sex und Kartoffeln« at the Theater Magdeburg how sexualities can be decolonized.


Content Note: Addressing eating disorders* and sexualized violence

In the piece, Anna Kirstine Linke uses the terms “eating disorders” and “sick” to take an intermediate step, as an ex-sufferer of bulimia and other eating disorders, in the self-appropriation of these foreign terms, towards softening the binary of “healthy” and “sick” in the long term.

Die Entsorgung des Vergessens – 91 Traumprotokolle

Acoustic installative processes in holey darkness. Enigmatic figures write themselves with an archaic script through dreams whose personnel they once were. A reduced web following lush dream logic.


The Solistenensemble Kaleidoskop sees itself as co-authors of the collaborative productions. In years of collaboration with Georg Nussbaumer, new forms of experimental music theater are explored. A place that has the power to imagine other futures.


N O T E: The performances are not barrier-free, as the audience moves through the different floors of the house on their own initiative after dark. Visitors with visual impairments can register for a guided performance at the box office up to 15 minutes before the performance begins.

Yum Yum

Whirlpools of packaging waste circulate in the ocean. Feminine sharks glow. Nimble hands fold oversize origami. Ropes become noodles, intestines, ghost nets. Care-Pas de Deux and Slow-food Porn meet at the wok campfire of a Thai megacity. In a dance performance, the visual cosmos of a glutamate-soaked fast food world is unleashed. From a Eurocentric point of view, hard-to-digest realities of life ritually lead into absurd waters.


Dasniya Sommer seeks connections between digestion, artificiality and culture with Michael Schumacher of the inclusive ensemble Meine Damen und Herren, MMA performer Fungi Fung, eco-feminist dancer Tara Jade Samaya and exception dancer Yui Kawaguchi. Through reflections on hydrofeminism and ‘Bodies of Water’, this creates an oscillating projection surface for a critical engagement with anti-Asian racism.


Haus Sommer is the network label of dancer and choreographer Dasniya Sommer. In changing collaborations with other artists, she explores and expands the formal language of classical ballet under the influence of shibari, body art and contemporary performance art.


Content Note

The play addresses anti-Asian racism. Restraint techniques are used on stage.


Following the performance on 13.5. the fifth part of »Die Suche nach der Ur-Oper« by Das Helmi will take place at the bar.

Best Funeral Ever (my russian funeral)

We die alone. We bury together. A participatory performance that explores the political and theatrical nature of the funeral ritual and deconstructs its settled mechanism. A ritual for which it is impossible to be fully prepared, but during this rehearsal any last wish can be fulfilled.


Natasha Borenko – a Siberian-born fluid theater maker, queer feminist migrant artist, who sees participatory art as a tool to deconstruct the system and rehearse the change. She develops this piece in collaboration with cross-cultural interdisciplinary artists.

Warum der Hund das Fleisch durch den Fluss trägt

In the forest of mythical creatures there is always a fight. No two people ever agree on anything. But it’s not the quarrel that’s the problem, it’s how we deal with it! In tricky situations, mouse courage, squirrel humor and peace techniques are called for. Together with the animals, the audience tries out the toolbox of conflict management.


Sebastian Mauksch & team stage participatory theater for young audiences and explore the art of adolescence. With Ballhaus Ost they created among others »Fennymore oder wie man Dackel im Salzmantel macht« (Invitations to Augenblick Mal! and Wildwechsel 2021) or »Junge Leute« (Nomination Longlist Wildwechsel 2023).

Tossed Sounds: Three pieces for absent inner piano

As part of the Performing Arts Festival 2023


Fernanda Farah »what draws are the eyes« (20‘)

– Pause –

Andrea Neumann »ip6« (20‘) 

– Pause –

Antonia Baehr »Inside the Piano« (20‘) 

Andrea Neumann has been playing the same instrument for 20 years: a self-made piano frame without a keyboard. For »Tossed Sounds« three pieces were written for the composer and musician, by performer Antonia Baehr, dancer Fernanda Farah and Andrea Neumann herself. On one condition: The instrument is absent from the stage. What remains of a musician without her instrument? What traces does it leave behind? What can be heard?

behind your eyeballs

As part of »Introducing…«at Performing Arts Festival 2023


How can an archive come alive? Can an archive become a time hole through which we can climb into new futures? Between a futuristic video world and car tires, Salma Said and Miriam Coretta Schulte explore the subversive video archive “858” of the 2011 Egyptian Revolution and the potential of choreographic mnemonic techniques.


N O T E: The show deals with topic of violence.


Salma Said and Miriam Coretta Schulte are partners in crime, friendship and performance. Since 2018, the duo has been developing an artistic practice that combines situational knowledge of their different backgrounds and contexts, a desire to experiment with activism and political issues. »behind your eyeballs« is their first joint project. »Court Fantasies« follows and will premiere in May 2023.


Bacteria live almost everywhere. In »Holobiontinnen« two performers make contact with the bacteria on their bodies and beyond. A network of performers, audience, microorganisms and machines emerges.


Eva Hintermaier / Simon Kalus are a transdisciplinary team at the intersection of performance, literature and installation. They are interested in human-nature relationships and interweavings of biological with aesthetic phenomena.


N O T E: Audio description is an integral part of all performances.

Accompanying the performances are tactile tours aimed at visually impaired people. They are also open to the public. The tactile tours make it possible to get to know the stage space, the equipment and the performers in advance. The tours are led by Sebastian Schulze and Simon Kalus. The meeting point is always 1.5 hours before the performance in the foyer.


The 24-hour happening traces the highly developed emotional system of dolphins. What would happen if we were able to transform our linear experience of time and space into a 5-dimensional vortex?


18:00 Check In / Worldbuilding
20:00 Universe
21:00 Climax / Collapse of the Universe
23:00 Food / Assimilation 
0:00 GHOSTs
3:00 Trance / INK*
5:00 3rd Pill / Revenges of Nymph
7:00 Frequencies of Dreams
10:00 Promenade / Repeat repeat until its in your Bones
11:00 Futureself / INK*
13:00 Backwards Burning / INK*
14:00 Trance Crying Ritual / INK*
15:00 Wetness Ritual / Creating the Ocean 
17:00 Bleed out
*For more info and booking options please contact // or decide on the spot


Heinrich Horwitz and the fluid collective consists of Rosa Wernecke, Magdalena Emmerig, Annett Hardegen and various performers. The group has been working together in different constellations since 2016 and is concerned with the idea of constantly transforming the theater space as a utopian practice.

Big Bangs & Black Holes

»Big Bangs & Black Holes« is a digital double-bill by Queer performance collective ONCE WE WERE ISLANDS. »Dogs of Love« and »We Come With Nothing«, created initially as stage works, are shown side-by-side for the first time, reimagined for film and animated with poetic imagery.


»Dogs of Love« (60′) investigates the intimate connection between two people. Starting with a real-life love story, two lovers run in opposite directions through time and space, through pasts and futures populated with real and imagined stories of Queer togetherness. Footsteps echo as we dive deep into togetherness, loneliness, crisis, and intimacy. Can we ever really leave someone we have been in love with?

To the Film


»We Come With Nothing« (35′) explores the dark side of entanglement. Inspired by the form of Olga Tokarczuk’s ‘constellation novels’ and ghost stories, it conjures a shadow-world of broken connections. What happens when a relationship ends in estrangement? What is this ‘nothing’ we are left with? What do we discover when we stare into this black hole?


To the Film


The films will be available online from June 19 through June 30, 2023.


Since 2012, Queer performance collective ONCE WE WERE ISLANDS — Chris Gylee and Aslan — have worked in the fertile ground between disciplines, combining theatre, film, choreography and research. The two performers deploy (auto)biographical narrative as well as meticulous research on Queer life realities for their poetic works. Most recently at Ballhaus Ost they showed »Karelia. A Queer Forest Fantasy in Two Parts«, and the film adaptation »The Crossing«. The piece »Dogs of Love« was premiered in 2019.

Dating a Forest

A site-specific AudioDate for one spectator and forest.


Spring Time is Dating Time! But if Parship, Grindr and LoveScout24 are not enough for you: »Dating a Forest« comes to Berlin! In times of climate crisis – just you and the forest, for two in the public space around the Ballhaus Ost. Book your dating slot – now!


Janna Pinsker and Wicki Bernhardt combine the lines of post-dramatic theater, choreography and performance for a young and intergenerational audience in their work. With an absurd-fragmentary and playful-confrontational aesthetic, they negotiate themes such as shame, bodily change, climate crisis or the power of couple relationships.


A T T E N T I O N : some slots are not barrier-free! Please contact us if necessary by mail to info @

Sentimental Bits – Encountering Perception

Two peformers encounter the audience in a live experiment with human and technologized modes of perception. In the hybridity of human senses, emotions, projections and spatial fluidity, they make the area between categorizing gazes their world and discover in it the poetics of glitches – disturbances in the system.


Gloria Höckner is a freelance choreographer and performer. Gloria’s artistic works deal with the relationship of the body to technology and power structures as well as the transformational potential of sound experiences.


The improvisational vocal collective from Hamburg resides for a week at Ballhaus Ost. After two music theater projects, artistic practices and authorships have developed out of the versatile group. The TakeHeart residency at Ballhaus Ost serves to gather this multiplicity under one roof. Voices and hierarchies are once again reshuffled. Which narratives, texts and melodies emerge from the choir itself? How can the multiplicity be made audible? On Sunday, the choir opens its doors for a live listening session open to the public, inviting you to listen to new compositions, narratives and improvisations in a relaxed atmosphere over a cup of tea.


Der extrem gemische Chor is a musical theater ensemble founded in 2017. The ensemble’s composition strives for vocal heterogeneity, encompassing a wide range of ages, professionalities and musical imprints.

Beton. Wüste. Zukunft.

The interactive radio play »Beton. Wüste. Zukunft.« invites you to trace your own cognitive dissonance between real climate crisis and fatalistic repression. With dripping sounds, diving meditation and thought experiments, big questions are asked and small steps towards utopia are dared.


Alisa Tretau’s multidisciplinary works revolve around shameful facets of current political issues. The 360° short film »Wüste Zukunft« already revolved around climate justice. Previously she published the anthology ‘Nicht nur Mütter waren schwanger’ (edition assemblage).

Kreischende Weiber*

Melanie Schmidli and team reanimate the lost sounds of historical “hysterical” women*. In an installative sound world they invite to conversations with experts on the female* voice. Finale: a participatory concert by Kreischende Weiber* including dinner.


For some time now, the actress and director Melanie Schmidli has been dealing with the discourse of hysteria as a means of social exclusion and oppression of women* in her work cycle Divina Hysterika. The multi-layered artistic process takes place in changing formats and collaborations. “Kreischende Weiber*” is the second collaboration with dramaturg Almut Wedekind, freelance artist and scenographer Barbara Lenartz, and actress and assistant Saskia Mommertz in this context. For the first time the team collaborates with the sound artist and noise maker Almut Schwacke.

Labor Sonor Special: »The Open Body«

The dancers listen to the space, inwardly and to each other, and move in response. In the four-hour process, they learn from what they hear to find other ways of moving. A highly sensitive mode of slow attention.


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

It’s about time

A Durational Online Festival A new festival: It’s about time! It’s about time! (Es ist Zeit!) It’s finally about time! (Es geht endlich los!) It has been about time (Die Zeit war reif) since November 2020. Back then many people were supposed to come together for four days in very small spaces for very long or very short performances. But the festival went with time and transformed its essence: It moved its program into the endless time and space of the Internet and will present itself there from September 2021. Curated by Anne Brammen, Monika Gintersdorfer, Tina Pfurr and Daniel Schrader, the Durational Online Festival It’s about time will develop, present and archive artistic works by Barbara Lenartz, Club Real, Elisabeth Tambwe, Felizitas Stilleke | Smruthi Gargi Eswar, GRUPO D3 CHOK3, Markus&Markus, ONCE WE WERE ISLANDS, vorschlag:hammer, vt corp. and many more for an unpredictably long period of time. It’s about time is a tribute to durational performances that allows art to take its time. It is a festival that will last.

Re/Locating Amo

Für das Projekt »Re/Locating Amo« haben sich ghanaische und deutsche Theatermacher:innen zusammengetan, um Anton Wilhelm Amos Leben und Denken theatral zu deuten und für einen transkulturellen Dialog um Themen wie Rückkehr und Zugehörigkeit, Tradition, Identität und Philosophie als Anlass zu nehmen.

How to Kill a Fascist

Gibt es den gerechten Tyrann:innenmord? Einen vertretbar militanten Widerstand? Einen ethischen Terrorismus? Schauspielerin Karin Enzler (Schweiz), Punkmusikerin Stéphanie Morin (Frankreich) und Choreographin Maque Pereyra (Bolivien) kämpfen sich in drei filmisch-performativen Solos durch die Geschichte bis zur Gegenwart.

Vor Sonnenaufgang

Gerhart Hauptmann’s Helene shows effects of increased alcohol consumption in her own milieu and her family, from which she cannot break away until the tragic end. Blomen, Moré and Reiniger question Hauptmann’s text “Before Sunrise” and complement it with their own and imagined experiences.

The Mother in Me is the Mother in You


New session with Linda Fisahn, Christian Fleck & Lis Marie Diehl
June 2, 2022, 6.00 pm

After what feels like a hundred years, three members of the theater group I CAN BE YOUR TRANSLATOR meet again on the Reeperbahn and welcome the newborn baby, uncover the secrets of the father-to-be, and process together how things can and will continue with children and career. Head cinema guaranteed!


Felizitas Stilleke aunt, curator, dramaturg, artist and person, gathers in herself and in seven performative podcast sessions voices of international artists for a collective discourse rededication. Searching for words for not-yet/not-more/maybe/motherhood.

Remote Together

Asian mud-dauber Wasp, a relatively new citizen of Organisms Democracy with migrational background, meets Herring, who is visiting from Helsinki to learn about the governmental procedures of a system of Equal Rights for all Living Beings. Humans are invited to accompany the pair on an urban exploration into the wilds of a democratic ecosystem in Berlin Wedding. While fetching water for the notoriously dry state territory, they discuss the meaningfulness of democratization movements in relation to the internet. A mobile screen with autonomous power source serves as channel of participation and communication with another three urban explorations. These will happen simultaneously in the streets and parks of Zurich, Vienna and Amsterdam.

The artists group Club Real was founded in 2000 and is devising and realising participatory site-specific projects: Installations, one-to-one encounters, political role play scenarios and participatory urban development projects invite visitors to help shape alternative concepts of reality. Since 2018, Club Real has been working on the theme of Organisms Democracy – Equal Political Rights for all Living Beings. In 2019, Organisms Democracy Vienna was invited to Impulse Theater Festival.

»Remote Together – Reality Vaccine« is a format that seeks new digital and hybrid forms of shared theatrical experience while bringing together diverse international artists using new digital tools. For the first edition, Transit Productions Zurich is developing a series of simultaneous performances with theater maker Pankaj Tiwari (Amsterdam), the collective Club Real (Berlin) and visual artists Thomas Hörl & Peter Kozek (Vienna) that can be experienced both locally and digitally.

All watched over by machines of loving grace

For the second time, the extremely mixed choir is making a guest appearance in Berlin. This time the group of amateurs and professionals explores ways of coexistence in the »Digitalocene«. How are contemporary technologies changing the way we live together? Can we act responsibly and without false anxieties in an environment of omnipresent, constant media exposure? In the midst of audience members, loudspeaker trees and cable groves an installative concert for human and non-human bodies takes place: a song about the loneliness of humans, about the love of the machines and the complexity of the world.

The extremely mixed choir is a multi-professional, diverse and intergenerational singing collective, which was founded in 2018 for the music theater production »Declaration of Dependence«. The artistic direction team consists of composers Lukas Huber and Leo Hofmann, director Benjamin van Bebber and scenographer Zahava Rodrigo. Together they search for possibilities of an integral interaction of space, music and scene in the compositional and staging process.

Theater Film Festival

Ballhaus Ost becomes a movie theatre and shows films that are in fact also theater. Eleven selected works get a big stage appearance after mostly being shot in lockdown and streamed in isolation. The festival guests can expect a wide mix of genres from theater and film artists: performance, dance, documentary and music, as short or feature-length films, with support from theaters or produced independently by the makers. And as with any good film festival, there is not only fresh popcorn, but also a quick Q&A after each film, a short break after two films and a fat festival party on Saturday evening. 

Friday, 17.06. at 18:00

»Keshava / Tharayil«
8’, multiling. with engl. ST
Theater: Anjali Keshava, Sumitra Keshava, Ralph Tharayil, Norwin Tharayil
Film: Michelle Ettlin

»Der DJ ist mein Vater«
100’, dt./engl./bulg. with engl. ST
Theater: BAMBI BAMBULE (Marie Jordan & Lisa Marie Stojčev)
Film: Lisa Marie Stojčev, Grigory Shklyar, Marilena Büld, Rahel Hutter

»Ori Cleanse«
49’, engl./fr./port. with engl. ST
Theater: Ricardo de Paula
Film: Zé de Paiva, Kathleen Kunath


Saturday, 18.06. at 18:00

»Die Zweitbesetzung«
14’, dt.
Theater: Zeno Gries
Film: Zeno Gries

»Brigitte Reimann besteigt den Mont Ventoux«
68’, dt.
Theater: Jan Koslowski, Marlene Kolatschny 
Film: Jan Koslowski, Marlene Kolatschny 

37’, dt. with engl. ST
Theater: schaefer||scherpinski
Film: schaefer||scherpinski

»How to get rid of a body. A video tutorial series«
50’, no language / engl.
Theater: Léonard Engel
Film: Harumi Terayama, Jubal Battisti, Léonard Engel

Followed by a fat festival party!


Sunday, 19.06. at 18:00

»Oh My Film«
12’, dt. with engl. ST
Theater: Henrike Iglesias
Film: Lara RCZ

»Arbeiterinnen / Pracujące kobiety«
73’, dt./pol. with dt./pol. ST
Theater: werkgruppe2
Film: werkgruppe2

»DOOM (The Movie)«
40’, no spoken language
Theater: Layton Lachmann, Samuel Hertz
Film: Ethan Folk 

»Autistische Spiele«
46’, dt./engl. with dt./engl. ST
Theater: Tobias Yves Zintel
Film: Tobias Yves Zintel

Wir wollen, dass es schön ist

Content note | Trigger warning (PLEASE READ)

The performance lasts about 90 minutes and takes place in a darkened theater space. You are invited to let the intense, sensual impressions take effect on you. Before the performance, people in the audience who can see will be asked to put on a blindfold (sleep mask) for the duration of the performance. If this situation is too uncomfortable, it is possible to remove the blindfold at any time on your own.
Not being able to see or being in darkness can cause discomfort under certain circumstances. There is always the possibility to take off the blindfold and/or to indicate this by hand signals. If this is the case, the contact person present will address you. We generally advise people who have traumatic experiences with darkness and not being able to see (e.g. due to near-death experiences, war experiences, being locked up) not to attend the performance.
During the performance there are intense sensory experiences, which may include the following:
Smells: Intense smells occur during the performance, both synthetic and natural.
Sounds: intense and loud sounds and music occur during the performance. Sound is generated from many different sources.
Phonetically, topics that may be upsetting to some people are brought up, along with many other topics. These include: Descriptions of violence, sexual acts, bullying, exclusion based on identifying characteristics, danger.
The performers will not intentionally touch the audience, but may come close.

There may be a sense of disorientation or loss of control due to the combination of artistic means combined with blindfolding.

We would like to invite you to an intense, pleasant and multi-layered experience.

Corona information

The ventilation system of Ballhaus Ost will be on during the performance. Ballhaus Ost recommends wearing a mask. You may choose to wear your mask during the performance. It is possible to get a surgical mask on site. The safety distances of 1.5m are underrun, the performers do not wear a mask.

Notes for blind and visually impaired persons

The performance is accessible for blind persons and persons with visual disabilities. If needed, we offer a pick-up service from the Eberswalder Straße subway station. Registration at: knrd.anna [at]

It is dark. There is nothing to see. Not a breath of air is stirring. Take a seat, sit back and open your nose and ears! Nothing is particularly beautiful, except perhaps the peace of absence. That is the starting point. In the midst of this darkness, Hysterisches Globusgefühl sets out in search of the beauty of collective experience. Between anarcho-flavours and groping bodies hovers the longing for the beautiful in the beautiful. Everyone desires something and we call this desire beautiful. But the beautiful is an imperative, a norm. And a norm is not beautiful. So should we strive for the beautiful, for truth and the good? Or is it all rubbish and we need to find something else? Smells and sounds mix with text and politics and a whiff of Hysterisches Globusgefühl is in the air.

Hysterisches Globusgefühl is a performance collective from Berlin and Vienna consisting of Elisabeth Lindig, Lea-Sophie Schiel, Arne Schirmel, Milena Seidl, Laura Steinl and Melanie Zipf. Since 2011, the collective has been developing performances that operate at the intersection of art and political action. The works focus on the questions of what politics is or could be, when it happens, and what it means to be political. These questions are addressed from a feminist and queer perspective. The collective also works in solidarity and wholeheartedly against heteronormative patriarchy and develops utopias for an anti-racist, classless, queerfeminist and livable future.

Als Susan Sontag im Publikum saß

Der neue Film von Studio RPK »Als Susan Sontag im Publikum saß« wird mit vier performativen Previews präsentiert: diskursiv unterbrochen, literarisch ergänzt, musikalisch live vertont und mit verwandten Filmen verschnitten. Das Theater wird zum kollektiven Wohnzimmer des gemeinsamen Watchens und der Film kehrt an seinen Ursprung zurück.
»Als Susan Sontag im Publikum saß« basiert auf einer Performance von Studio RPK im Ballhaus Ost. 50 Jahren war es her, dass die berühmte Panel-Diskussion »A Dialogue on Women’s Liberation« in New Yorks Town Hall stattfand: Auf der Bühne stritten, lachten und perfortmen Norman Mailer, Germaine Greer, Jill Johnston, Jacqueline Ceballos und Diana Trilling. Im Publikum Susan Sontag, Cynthia Ozick und Betty Friedan, die intellektuelle Elite New Yorks. Die Filmemacher Hegedus und Pennebaker ikonisieren das Ereignis später mit ihrem Dokumentarfilm »Town Bloody Hall«. Aus dem Reenactment auf der Theaterbühne entstand mit »Als Susan Sontag im Publikum saß« ein filmischer Kommentar der Geschehnisse von 1971, ein tiefgründiger Schlagabtausch im Jetzt, dem Zeitalter von #MeToo.

Link zum Film:

Un Renversement – von Don Giovanni

Im Rahmen von BAM! – Berliner Festival für aktuelles Musiktheater 2022

Mit feministischer Brille widmen sich Alíenor Dauchez und ihr Team von La Cage hier einer Dekonstruktion von »Don Giovanni«. Die Handlung ist auf ein Filmset der Pornoindustrie verlegt, nicht immer geht es auf der Bühne jugendfrei zu. Scham wird zu einem wichtigen Schlüsselwort: Wer muss sich schämen hier, warum und wofür? Neben der passiven Rolle von Mozarts Frauen, die entweder Verführte, Betrogene, Verspottete oder Missbrauchte sind, kommt deren komplexe Psychologie in den Blick. Unerwartet tritt hierbei die Nebenfigur des Komtur aus dem Schatten und zeigt sich als wichtiges ergänzendes Glied eines von Männern dominierten Systems.
Trotz des extrem reduzierten Ensembles bleibt bei dieser Umkehrung (»renversement«) kaum eine Szene der Oper außer acht, mag sie gestreift werden auch nur im turbulenten Sprechdialog oder im Ausschnitt aus Opernfilmen, die mit dem Stück auch dessen Rezeptionsgeschichte reflektieren. Historische Einspielungen in originaler Besetzung werden unter den Händen Marta Zaparollis elektronisch verlangsamt oder verzerrt, andere Teile der Partitur in den Bereich alter und neuer Instrumente (Barockflöte, Synthesizer) übertragen – das sind Aufforderungen, »Don Giovanni« nicht neu nur zu sehen, sondern auch neu zu hören.

Die Musiktheatercompagnie La Cage wurde 2015 in Berlin und Paris gegründet. Sie bedient sich eines vielseitigen Repertoires, verbindet neue Musik mit Musik anderer Epochen und anderen Genres. In jedem Stück von La Cage wird eine musikalische Idee mit einer bildhauerischen Idee verknüpft. Der Blickwinkel auf den Raum und auf die Körper ist von der Tradition der Bildenden Kunst beeinflusst. Das künstlerische Team, das sich für die jeweiligen Projekte zusammen mit einem Musikensemble bildet, ist interdisziplinär und sucht nach neuen performativen Formen für das Genre Musiktheater.