Wed

3.9.

13:00 Exhibition
Festival

Thu

4.9.

13:00 Concert
Festival

Fri

5.9.

13:00 Exhibition
Festival

Sat

6.9.

13:00 Talk
Festival

Sun

7.9.

13:00 Concert
Festival

Sat

13.9.

20:00
maulwerker performing music

Sun

14.9.

20:00 + Artist Talk
maulwerker performing music

Mon

15.9.

18:00
Wanda Dubrau and Juliet Meding

Tue

16.9.

18:00 Thaiboxing

Wed

17.9.

18:00 Training-Dance

Thu

18.9.

17:00 Badminton

Fri

19.9.

17:00 ping pong

Sat

20.9.

13:00 dodgeball

Sun

21.9.

18:00 Berlin premiere
Boys* in Sync

Wed

24.9.

20:00
ONCE WE WERE ISLANDS

Thu

25.9.

20:00
ONCE WE WERE ISLANDS

Sat

27.9.

18:00
krautfuzz & iLan katin | INK | Christian Kesten | Fernanda Farah | Contagious

Thu

16.10.

20:00
The Dames

Sat

18.10.

19:00
The Dames

Fri

31.10.

20:00 Premiere
La Cage

Sat

1.11.

11:00
La Cage

Sat

1.11.

17:00
La Cage

Sun

2.11.

15:00
La Cage

The Listening Biennial

For its third edition, »The Listening Biennial« brings together sonic, visual and performative works by an international cohort of artists for a week-long program of creative and reparative listening. Challenging current attention economies with their crisis capitalism, the Biennial offers a restorative space for deep breaths and slow talk, and for listening-with the vibrant matters of our planetary world. Comprised of artistic installations throughout the building of Ballhaus Ost, an informal talk series taking place under the trees, and an evening program of live performances and experimental sounds, we invite audiences into a listening journey full of poetic voices, stories, noises and songs. In particular, »The Listening Biennial« works at building greater listening cultures, nurturing radical openness and compassionate action. The Listening Biennial is an artistic, research project focusing on listening as a creative, critical capacity. It is compris of a network of partner institutions aednd cultural venues around the world in support of greater listening cultures and practices. P R O G R A M Exhibition:Mi 3.9. – So 7.9. 13:00 – 18:00 (Free entrance) Talks & Conversations:Do 4.9. – Sa 6.9. 18:00 – 19:30 (Free entrance) Live Performances:Doors 19:30 / Start 20:00 Mi 3.9.: Siegmar Zacharias, Mariana CarvalhoDo 4.9.: Stefan Roigk, Brandon LaBelle, Isuru Kumarasinghe & Sara MikolaiFr 5.9.: Lílian Campesato, Agustín Genoud, Kirstin BurckhardtSa 6.9.: Miguel Buenrostro, Yara Mekawei, Ola Zielińska Installations: Mario Asef, Max Bloching, Tatiana Fiodorova, Helen Hine, Annette le Fort, Nicole L’Huillier, Silvia Maglioni / Graeme Thomson, Israel Martínez, Oficina de Autonomia, ~pes (Elizabeth Gallón Droste & Pablo Torres Gómez) Audio works: Florence Cats/Lilja María Ásmundsdóttir (Belgium/Iceland), Rachel S. Y. Chen (Singapore), Kaur Chimuk (India), Čhoakkeladd (Kashmir), Mariana Pinto Coelho Dias (Portugal), MycoDyke (India), Hear & Found (Thailand), Shwe Wutt Hmon (Myanmar), Lynn Nandar Htoo (Myanmar), Lagos Sound Artists Collective (Nigeria), Okui Lala, Ana Estrada, Nasrikah (Malaysia/ Australia/Indonesia), Nicole L’Huillier (Chile/Germany), Chong Li-chuan (Singapore), Subash Thebe Limbu (Nepal), Elena Lucca (Argentina), Imaad Majeed (Sri Lanka), Yara Mekawei (Egypt), Graciela Muñoz (Chile), Jacqueline Nova (Belgium/Colombia), Lujáne Vaqar Pagganwala (Pakistan), Amanda Piña (Austria/México), Ruhail Qaisar (Ladakh), Superlative Futures – Wong Zihao & Diancong Liu (Singapore), Irazema H. Vera (Peru), Valentina Villarroel (Chile), YIM Sui Fong (Hong Kong), zeropowercut (Patna, India). Curated by: Mario Asef, Brandon LaBelle, Alecia Neo, Soledad Garcia Saavedra, Suvani Suri

ICH & ICH & ICH [WIR]

Antonia Baehr »Hallo Du!« 2025 / UABryan Eubanks »The Permanent Computer« 2025 / UARolando Hernández Guzmán »Amoxohtoca II« 2025 / UAPauline Oliveros »Portraits of Maulwerker« 2008, neue Version 2025 / UA The compositions in the programme of the new edition of the successful maulwerker performing music series focus on the responsibilities and freedoms in open processes, the influence of one’s own behaviour on the musical dynamics of the whole and the social processes reflected therein. Such interactive music, which requires the performers to participate in the creation of the works, can only succeed if the participants get involved and truly articulate themselves. The result is not only a collective expression, but also a portrait of the group. Maulwerker, collective for vocal experiments, integrate elements of performance art, intermedial art and choreography into their music. On September 14, a public discussion will take place following the performance. Moderator: Ariane Jeßulat, guests: Antonia Baehr, Bryan Eubanks, Christian Kesten. In English.

Dissolving

Dissolving is a regular gathering for an exchange on crip-related topics. The focus is on neurodivergent, chronically ill, and invisibly disabled perspectives. In a relaxed environment, we invite you to exchange ideas about (access) needs and crip-specific organizational methods and aesthetics. We are eagerly seeking new connections and opportunities for action.The meetings are a mixture of the participants’ pressing issues and the topics prepared by Juliet and Wanda. Anyone who is interested is invited to participate in whatever way they can. On September 15, we will be discussing the topic of diverse (crip) temporalities.The meetings will last approximately three hours (with a 30-minute break).We ask that you register so that we can plan better, but you are also welcome to drop by without registering. Wanda Dubrau and Juliet Meding have been exchanging ideas for some time now on the dissolution of pre-structured spaces and temporalities, as well as on the inclusion of marginalized bodies and ways of being.Since 2024, they have been co-hosting the DISSOLVING series.

Sportfest reloaded

Tuesday 16.9.18:00-19:30 Thaiboxing | Muay Thai (Janne Kummer)Wednesday 17.9.18:00-19:30 Queer Functional Training (Philisha Kay)20:00-21:30 Musical Dance Mix Workout (Mathilda Kleo Colada)Thursday 18.9.17:00-21:00 PLAY BadmintonFriday 19.9.17:00-21:00 PLAY ping pongSaturday 20.9.13:00-18:00 dodgeball tournament Participation free of charge. Registration at sport@ballhausost.de The undisciplined fighter: Martial arts as a tool for trauma work with Janne Kummer explores the potential of empowerment through collective physical movement, using martial arts as a starting point to experiment with and transgress into different forms of movement exploration. All bodies and fitness levels are welcome, no experience in martial arts is needed. dienen. Alle Körper und Fitnessniveaus sind willkommen, keine Erfahrung im Kampfsport notwendig. Softer Hards. Queer Functional Training with Philisha Kay expands functional training through artistic and research-based explorations of bodybuilding. Varying bodyweight exercises from calisthenics and resistance training are combined with theoretical impulses and experimental creative reflections. Musical Dance Mix Workout with Mathilda Kleo Colada is an energetic dance workout where you have the opportunity to feel like a Broadway star for about an hour. MDMW is a mix of different dance styles and a group fitness workout. You don’t need any previous experience to take part. For PLAY Badminton the net is stretched in the sports hall. The court is marked out. The shuttlecocks are provided. 60-minute time slots, bookable for everyone. At PLAY ping pong, the tables are ready and waiting for you and you can book your table by the hour, practice your topspin, practise mixed doubles or just play like in the park (without the wind). The Dodgeball Tournament takes the game with the questionable german name (Völkerball) out of the school sports corner and focuses on fair play. Come as teams or individuals, come as a sporty or non-sporty person. Come as children, teenagers and adults. Come to become part of a team or as audience! We play a tournament mode, but with background music and ground fog, the focus is on fun. Registration and team building 13:00, begin 13:30.

SECOND SEASON

»Der Fröhliche Weinberg« premiered in 1925 – the same year that Adolf Hitler’s hate pamphlet »Mein Kampf« was published. In his comedy, playwright Carl Zuckmayer sings the praises of German Gemütlichkeit, but barely mentions the fascist threat. »Back then, we still believed we could laugh it off at the top of our lungs – until one day there was nothing left to laugh about«, he states in 1961. Exactly 100 years later, the performance collective Boys* in Sync takes Carl Zuckmayer’s German vineyard idyll as an opportunity to reflect on theater and the joy of laughter. While right-wing governments are swinging into power in many places around the world, the artists from Poland, Sweden, Norway and Germany are producing their very own »international comedy«: In SECOND SEASON, they shed light with seriousness and queer pleasure on the stories we tell in the theater – and why it never matters… The Berlin performance is part of the »BOYS* IN SYNC Going Home Tour«: For one month, the artists will travel through five different European countries with their narrative performance. This project is supported by Performing Arts Hub Norway, Arts and Culture Norway, Nordic Culture Point and Kulturstöd Göteborg. BOYS* IN SYNCis a performance collective with members from Germany, Norway, Poland, South Africa, Sweden and Denmark. Their works move between the poles of queer body practice, pop aesthetics and documentary performance.Permanent members are the puppeteer Ragni Halle, the actors Livia Hiselius and Jay Tebogo Fiskerstrand, the musician Gregers Hansen, the dancer Jakob Krog and the director Simon David Zeller. Since 2019, the group has been invited to the Fringe Festival Edinburgh, Fast Forward Festival Dresden, Performing Arts Festival Berlin, Frie Felts Festival Copenhagen and Autor:innentheatertage Berlin, among others. www.boysinsync.com

Seedling

We open the cult sci-fi novel from our back pockets and start reading. The story begins — snakes and scars. Letters from a runaway. Study notes and cover versions. A folk song in a new language. A happy ending, and we close the book.We try again — a recording studio in Nashville. A second hand bookstore. A bus station, a way station, a seedbank. The Scala and the Jeong. Another ending.One more time — a starship powered by desire. A shell revealing our souls. A forest, singing to another forest. High tide.Again …?What do we do when the happy ending doesn’t make us happy? / What do we do with a utopia haunted by ghosts? / How do we know when the story ends? »Seedling«, a new stagework from ONCE WE WERE ISLANDS, navigates a multiverse in search of beauty and meaning in the unending circular mess of our Queer lives. It’s the ninth chapter of the two-year constellation artwork With Forests in Our Mouths and a companion to »Palace of Ash & Rain« which showed at Ballhaus Ost in autumn ’24. www.withforestsinourmouths.com

Labor Sonor – Celebrating 25 Years

25 years of Labor Sonor. Five concerts. One long evening. 1) krautfuzz is characterized by an edgy, futuristic tension that ranges from neo-psych rock to abstract minimalism to pure noise: with live video improvisations by iLan katin. 2) INK is a flexible bubble of floating excitement, romantic slowdowns, and cheerful choruses. 3) Christian Kesten moves objects on an amplified table and tells strange stories to accompany them. 4) Fernanda Farah’s new piece FEED•IN•ATTENTION is a soundtrack consisting of her Instagram feed and its algorithmic discrepancies (premiere). 5) Contagious is a forward-looking mix of avant-garde experimentation and electronic music. Labor Sonor is the oldest concert series for real-time music and has shaped a broad scene since its inception. It presents the spectrum of current experimental music forms beyond genre-specific definability.

THE WATS

The Berlin-based composer and musician Stepha Schweigerpresents »THE WATS«, a new cross-genre work of music theatre.The piece, an implementation of Katherine Mansfield’s (1888–1923) short story »The Woman at the Store«, will premiere on October 2, 2025, at Ballhaus Ost in Berlin. In THE WATS, three travellers stumble upon a mysterious woman and her child in a remote, apocalyptic desert landscape in New Zealand. What begins as a strenuousbut also humorous journey soon develops into an absurd drama about violence, isolation and emancipation. Schweiger translates Mansfield’s themes – the role of women, interpersonal relationships and our connection with nature – into a contemporary social context. Applying the musical methods of repetition and subtle, catchy variations, the music theatre addresses highly topical issues such as sexualised violence, climate catastrophe and the quest for self-determination.

The Dames’ Revue

The Dames are back for their sold out show The Dames’ Revue. An evening of live music and cabaret starring Nancy Nutter on vocals and Madame Eve on the piano. For the last six months, throughout three shows, Nancy and Eve have been collaborating with some ofBerlin’s finest performers. The Dames’ Revue presents the fruits of these collaborations, uniting in one show burlesque icon Chiqui Love, circus extraordinaire Jade Lee and drag legend Bridge Markland. In 3 acts, this revue is a journey from femininity to masculinity, through spirituality. Get comfy, bring some snacks and strap in for the ride! The Dames ((established 2022 in Berlin) is a live cabaret musical double act. With a piano and their voices they offer a moment in time, to share music as memory, taking you on an emotional rollercoaster for a cathartic release. Performers Nancy Nutter | Madame Eve | Chiqui Love | Jade Lee | Bridge Markland

Der Ozean

»Der Ocean« is a multisensory dance and music performance for deaf and hearing adults, with and without babies. The performance delves into the complex and ambivalent experiences of parenthood and childhood—a web of contradictions involving care, exhaustion, and tenderness. Inspired by the image of the ocean—a symbol of vastness, change, and security, of an imagined, inexhaustible maternal source, but also as an open, connecting body of water—the piece approaches the themes of parenthood, care, and dependence from different angles. In close connection with voice, choreography, vibrations, taste, and sign language, a multi-layered, collectively experiential composition by Genoël von Lilienstern and La Cage emerges. La Cage was founded in Berlin and Paris in 2015.The company combines musical and sculptural forms in performative formats.

Fest der Liebe

The experimental short film »Fest der Liebe« is an attack on the prologue to Leni Riefenstahl’s »Fest der Schönheit«. The film questions the cinematic style of »Fest der Schönheit« and parodies the propagandistic content and values conveyed by the work of the controversial filmmaker from the Nazi era. Parallels to the aesthetic models of the current cultural and media landscape are unmistakable: both male and female bodies still – or again – have to conform to certain norms and an ideal image that hardly or not at all deviates from that of the Riefenstahl era. »Fest der Liebe« is not about toned muscles and graceful movements, but about the question of whether there is an Eros beyond the norm.

Tom Weller is a lecturer in sports education, trainer in queer fitness groups, author and filmmaker and studied sport, history and film directing in Cologne. In his projects, he works primarily on queer history and body politics.

www.tom-weller.de

404 Peloton Not Found

A person trains. A machine steers. Together they prepare for their first cycling race. In this durational training performance, the performer follows an algorithmically generated load structure. What happens when the body no longer functions according to feeling, but according to data sets? When the decision about pace, rest and exertion is no longer made by humans – but is controlled by artificial intelligence? Every day, Ballhaus Ost becomes a training center, exhaustion becomes performance.

Martin Schnippa was born in Annaberg-Buchholz, grew up in Weimar and studied cultural studies and aesthetic practice (diploma) in Hildesheim. Today, Martin works as a performer, actor, artistic director and production manager for national and international film, television, advertising and theater productions, and in his work he repeatedly explores the interface between body, sport and theatricality.

Pump

»Pump« is the beginning of the evening, and maybe of a party. A warm-up, a ritual, a rehearsal of strength. Between choreography and bodybuilding, two performers explore muscle not as domination, but as relation—a medium of touch, support, repetition. They lift and pose, strain and hold, not to perfect a body, but to complicate what strength can mean. Between drag and discipline, spectacle and slowness, it opens a space for shared exertion. Posing becomes gesture, becomes form, becomes commemoration, becomes shared joy.

»Pump« is a project evolved through the participation of Rahel Crawford Barra, Nattan Dobkin, Emil Maria Ertl, Sarah Leghissa, and Simon van Saarloos, and will be performed by Rahel and Nattan in this iteration.

On Horses – Sports Edition

The sports edition of the performance »On Horses« sends powerful narratives into the race. Two performers and a life-size wooden horse go all out between pony farm and hard dressage. It’s about the life and death of horses as sports equipment, about recreational fun and an interspecies (competitive) battle.

Eva Hintermaier | Simon Kalus are a transdisciplinary team at the interface of performance, installation and literature.

Sportfest Sounds

Samuel Hertz composes a series of playlists, atmospheres, background sounds and sound installations that inhabit and fill the multipurpose spaces of Sportsfest. These sound installations also include live streaming of sound from tournament events as well as incorporating interactivity on the parts of audiences and participants alike. They play with the sound associations of both sporting events proper, as well as the more hidden spaces within which they occur: locker rooms, loud gyms, training rooms and loud sports bars all influence the sound design and the ways in which these atmosphere both challenge and accept these unique environments.

Samuel Hertz is a sound artist and researcher who works with sound-sensing networks of environmental science research through multimedia frames including immersive electronic music, interstellar radio transmissions, deep sea broadcasts, and doom metal concerts.

All Day I Dream About Soccer

As a child he remembers first being drawn to the beautiful game, not by the game itself, but rather the colourful jerseys which the players wore. Using his football-dance practice as a departure point, Ahilan Ratnamohan now delves into this mystical connection to the sport, a connection which he slowly distanced himself from as he began to play more seriously, cataloguing the developments of fashion in football over the last 30 years. He zooms in on fabric and particular manners of wearing clothes, ruminating on what their possible effects are on the movements in football, literally and figuratively.

Ahilan Ratnamohan is a performance-maker based in Antwerp. He is inspired above all by sport and language-learning processes. His work straddles many different themes, aesthetics and contexts, from theatre to performance and choreography, international to hyper-local.

Self defense. No offence.

The immediate presence of violence has an indirect and direct effect on our bodies, our behavior and our perception of the world. In order to protect ourselves from violence, we attend self-defense courses and learn to fight for ourselves. Do I have to become dangerous to be safe? In the performance, we explore facets of self-defense – everyday protection rituals, fighting techniques, political and moral questions of defense.

Natasha Borenko and Lidiia Golovanova are non-binary theater makers with a migration background, living in Berlin and focusing on political participatory theater projects that deal with issues of gender, power and community through humor and theater of the absurd.

As part of the performance development, the artists will also conduct a self-defense workshop with a professional self-defense trainer:
Do. 5.6. 17:00-19:00FLINTA+ Selbstverteidigung (Workshop & Recherche)
please register to participate via email sport@ballhausost.de

Ballhaus Odds

Sports move people. Sports generate emotion. Sports turn spectators into fans. Ballhaus Odds has stood for safe sports betting since 2025. The Ballhaus Odds Group’s actions are based on three pillars: trust, tradition and passion.

Barbara Lenartz is a freelance artist, scenographer and costume designer; she lives in Berlin and runs a dog racing track in Tempelhof. Anton Rose works as an author, director, pop singer and is a fan of Andrasch Starke. Armin Luschin is a web developer and designer. He is passionate about betting on the Philippine Basketball League.

The Lactate

Only a few kilometers to go. The athletic director whips you forward. Lactate conquers your legs. The interactive cycling installation between race simulation and performance diagnostics turns the Smarttrainer into a storytelling machine.

Yves Regenass works as a theater creator at the interface of game theater and digital dramaturgy. He studied cultural studies and aesthetic practice, is a qualified athletics coach and has a track certificate from the Grenchen Velodrome.

Fake Diamonds

In »Fake Diamonds« René*e returns to the dance floors of her past, to gyms, community halls and ballrooms. She dances with and against herself as a former dancer in the competitive sport of Latin American ballroom dancing. In the sparkling glow of fake diamonds, René and her team are now choreographing the old dances anew. With a queerfeminist dance performance, they question sexiste and racist structures in competitive dance, the heteronormative ideal of the romantic couple and binary ideas of winning and losing.

René*e Reith (all pronouns) works as a choreographer, performance artist and dance scholar.

CONTENT NOTE

Nudity

Fat Camp

What’s good, Uggos?
Our professional trainers are tough as nails and their regimen is merciless: the revolution will be ugly and we’ll have to be too.
Join »Fat Camp« to dive into questions of how capitalist narratives of strength, beauty, and health shape the way we relate to each other as competitors – and leave it all behind through our multi-step course.

FEELINGS comprises the artistic works, performative research, games, and feelings that Jil Dreyer and Joey Mehling have been developing with and for each other since 2017.

Celebrating sports

What would sports be without spectators?They are the ones who turn sport into an event, a spectacle, a celebration. Sports without festivals is like theatre without an audience: Spartakiads, gymnastics festivals, EuroGames, Gay Games – all these events have a celebratory character. Athletes display their skills, their performance, they perform. The audience applauds, cheers, and motivates. Whether on an international, national, or regional level, sports festivals are an integral part of sports. Sometimes we celebrate achievements, sometimes we celebrate sports heroes, and sometimes we celebrate ourselves. But who is this “we” in sports? Sports is often referred to as the “performance of society.” So, when we analyze sports festivals – both historically and in the present – we learn something about a society’s self-image. This is also true for the sports festival here at Ballhaus Ost. The exhibits on display here belong to the collection of the Sportmuseum Berlin, which has been located in the Olympic Park since 1997. Home to more than 10,000 objects and 1.5 million images, it boasts one of the most diverse and largest sports collections in Germany. The Sportmuseum Berlin is currently developing a permanent exhibition, which will be displayed in the Maifeldtribüne in the Olympic Park. The exhibition is slated to open in the summer of 2026.

Sportfest

Inhalt halt keine Relevanz, weil dieser beitrag per redirect umgeleitet wird auf: Sportfest

Growing Pains

At the age of 11, Norwin declares on Swiss television the goal of playing in the NBA, the best basketball league in the world, and dreams for years of growth spurts that fail to materialize. In the performance, Norwin poses the question: What can I imagine for myself, for my body? – and grants permission to grow beyond the given physical form.

Norwin Tharayil (aka elfrid the third) works at the intersection of literature, music and performance. In past audio pieces, (song) texts and performances, Norwin has explored the meaning of sleep and meditation apps in Western, capitalist societies, factory work and heartbreak.

Posters

The video work »Posters« questions in an unobjective way how the sporting highlights of recent decades fit into the lives of their viewers. Patinated and pixelated, the result is a portrait of those who remember.

Jasper Landmann is a linguist and filmmaker who specializes in the staging of visual art in European museums. His enthusiasm for sports came with his grandfather’s giant television.

Olympia

In the performance »Olympia«, Jäckie proves their ability to compete in the Olympic pentathlon by drawing a parallel to the rigorous application process they had to navigate to access gender-affirming care as a non-binary person in Germany.

Jäckie Rydz is a non-binary theater maker. Through poetic texts and immersive stage design, they explore gender and the unwritten rules that shape society.

Trashtalk Dynamo

To come to terms with the trauma of the socialist athlete, »Trashtalk Dynamo« goes to an artificial ice stadium with Mielke’s head as a goal wall and seeks healing through fan chants and penalty shoot-outs.

Toni Jessen is an actor, lecturer and choir director. Sebastian Mauksch is a director in the theater for young audiences. Volkan Türeli is a musician, performer and director.

Mit Wirkung VI: the land speaks to me of something shared: a prayer for ancestral rhythms

The Mit Wirkung event series centres on solidarity in the fight against German racism, with a focus on anti-Muslim racism and anti-Semitism. With the unique performative research by artists Anna Lublina and Samuel Hatchwell [hoyah], the sixth and final event in Mit Wirkung is dedicated to the often missing, often erased aspects of Jewish identity, roots and shared histories that can be traced back to the Jewish-Muslim world.

Rhythm travels, Rhythm migrates, Rhythm adapts, Rhythm resists. Rhythm is a vibration that synchronizes your heartbeat to the heartbeat of another. In this performance, Rhythm is the character of Jewish diaspora, reaching back in time to shared Jewish-Muslim worlds: worlds that were not defined by borders, nationalisms, or divisions that emerged with the advent of colonialism. Artist Anna Lublina and musician hoyah work with tap dance, extended vocal techniques, and live mixing to ask what the political and cultural history of diasporic Jewish rhythm (and its embodiment) can teach us in a time marked by polarization and violence.

Anna Lublina and their team are all artists trying to flee the confines of nationalism in the spirit of Doykeit.

The performance will be followed by an audience talk.

The performance is part of »Mit Wirkung. Eine Relaxed Veranstaltungsreihe über intensive Themen«. On Apr 26+27 there will be further performances in the regular program.

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 requirements related to accessibility.

The event happens on the ground floor and is accessible without stairs.

The performance was retrospectively adapted as a relaxed performance.

General Information on Content and Sensory Cues

The Mit Wirkung events address German Racism, with focus on antisemitism and anti-Muslim racism in Germany.
Mit Wirkung VI centers on a performance exploring erased and missing aspects of Jewish identity, roots, and shared histories that trace back to a Jewish-Muslim world.

Food will be served during the event, with garlic as a central element, so there will be noticeable smells in the space.

Detailed information on content and sensory stimuli, as well as allergen information, can be found below.

Relaxed Event

The events 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, stools

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.

Schedule

6:30 – 7:00 Soft Arrival
7:00 – 8:15 PERFORMANCE
8:20 – 8:40 Break
8:40 – 9:10 Food
9:10 – 9:40 Q&A

Content Notes / Sensory Stimuli / Allergens
the land speaks to me of something shared: a prayer for ancestral rhythms – Anna Lublina & Samuel Hatchwell (hoyah)

Performance in English, Hebrew, and Arabic
75 minutes

The performance explores rhythms that trace back to Jewish-Muslim worlds. It reflects on how the emergence of national ideology and sociopolitical development have affected rhythms and music. The performance is a mediation on often erased and overlooked aspects of Jewish identity, roots, and shared histories.

Content Notes:
-Extended and repeated slapping on bare skin (on one’s own and another’s chest)
-Physical contact between the performers
-Close proximity between performers and audience
-Dark stage atmosphere, including moments of complete darkness (blackouts)
-Rhythmic, repetitive movement and singing
-Potentially overwhelming sound density
-Poetry addressing themes of violence, origin, belonging, and transformation
-Narrative text dealing with displacement, colonialism, diaspora, cultural appropriation, and remembrance
-Spoken text is not always intelligible due to distortion
-References to historical traumas such as the Holocaust, the displacement of Jewish and Muslim communities, and colonization
-Discussion of the appropriation of Palestinian music in Israeli culture
-Critical reflection on nationhood, purity, identity, and collective history

Sensory Stimuli:
-Dark lighting with focused spotlights
-Slapping on bare skin over extended periods
-Distorted voices using effects such as echo, reverb, and amplification
-Extended periods of loud rhythmic sounds (tap dancing, drumming on metal)
-Metallic banging and drumming on tin cans used as instruments
-Two full blackouts (complete darkness), approximately in the middle and at the end
-Subwoofer sound resembling a generator
-Sudden shifts between dense soundscapes and silence
-Strong visual contrasts (e.g. reflective metal surfaces lit from below)
-Slowly building layered vocal arrangements
-Overlapping of voices and sounds to the point of indistinguishability
-Smell of garlic

Food – Jasmina Al-Qaisi

The food will be prepared after the break as part of a ritual. It mainly consists of finger food and will be served on paper plates. There are no tables for participants to sit and eat.

Content Notes:
Audience may participate in crushing garlic

Sensory Stimuli:
Soundscape of conversations, many people speaking at the same time
Smell of food, especially garlic

Allergens
-Garlic
-Butter (contains lactose)
-white salty cheese (contains lactose)
-black kumin
-sesame
-leek
-Wheat and gluten
-Gluten-free alternative: potatoes
-May contain conservants

Q&A

This is an open conversation. Because it is an open format, exact content notes cannot be provided. Possible topics include:

Content Notes:
-Jewish/arabic identity
-Erasure under statehood
-Diversity in jewish identities
-Erasure under zionism

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.

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.

Mit Machen  (تشارك)

في الأمسية الثالثة ل«مِت ڤيركونغ»، ندعو الحضور إلى التفاعل مع سؤال: ما الضروري من أجل المساواة في ألمانيا؟ بناءً على فعاليات «مِت ڤيركونغ» السابقة في ديسمبر/كانون الأول، والتبادل حول القرارات القائمة، يوفر «تشارك» مساحة لممارسة التفكير التخيُّلي. في مجموعات صغيرة، وبتيسير وإرشاد من خبراء في مجالات مختلفة، ندعو المشاركين والمشاركات لتبادل المعرفة والأفكار والأسئلة من أجل تصوُّر مجتمع عادل، ثم صياغة تصورات من أجل حماية كل الحيوات المهمَّشة في ألمانيا.

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!

Mit Wirkung IV: Mit Uns

Mit Uns is planned as a creative Iftar evening in a relaxed atmosphere. The fourth Mit Wirkung event aims to put into practice the solidarity in the fight against German racism, anti-Muslim racism, anti-Semitism and oppression. Mit Uns invites the public to come together, exchange ideas and feel the power of community. Good music and literary readings will accompany the evening and allow different voices and perspectives on the practice of solidarity to be heard. The event is planned as a Relaxed Event, which means there will be various seating options, a quiet room, stim toys, a soft arrival and previously available information on content and sensory stimuli. If you want to know more about the Relaxed Event, click on Accessibility below.
(Note: Detailed information on the content will be announced shortly before the event).

With Sivan Ben Yishai (Wounds are Forever (self-portrait as the national poet), Wassim Mukdad & Michael Glucksmann (Human Message), Shams Kitchen, DJ Safsufa, Hoyah, Tariq Suleiman, in conversation with Sinthujan Varatharajah (Hierarchies of Solidarity)

Soft Arrival: 
17.30 -18.00 (Iftar at 18:30)
Breaks are scheduled approximately every 45′. Each break lasts 15′.

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

Mit Uns (معنا)

«معنا» هي أمسية إفطار إبداعية. تأمل الفعالية الرابعة ل«مِت ڤيركونغ» أن تؤسس لممارسة الروابط في الكفاح ضد العنصرية الألمانية ضد المسلمين، ومعاداة السامية، والممارسات القمعية. «معنا» يدعو الحضور لنجتمع سويًّا لنتبادل ونشعر بقوة المجتمع. ستصحبنا في الأمسية أنغام الموسيقى الشرقية وقراءات أدبية، مقدمة أصواتٍ ورؤًى مختلفة عن ممارسة التضامن. 

بدء الوصول: 17:30-18:00
الإفطار: 18:30
مخطط لاستراحة مدتها 15 دقيقة كل حوالي 45 دقيقة.

هذهالفعاليةجزءمن «مِتڤيركونغ: سلسلةفعالياتريلاكسدحولمواضيعجادة»

التذاكر: الحضور مجاني.

مدة الفعالية: حوالي 4 ساعات

اللغة: اللغات الأساسية ستكون الإنكليزية والألمانية، لكن ستتوفر ترجمة فورية بالعربية أيضًا.

اللغة: اللغات الأساسية ستكون الإنكليزية والألمانية، لكن ستتوفر ترجمة فورية بالعربية أيضًا.

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 requirements related to accessibility.

The event happens on the ground floor and is accessible without stairs.

General Information on Content and Sensory Cues

The Mit Wirkung events address German Racism, with focus on antisemitism and anti-Muslim racism in Germany.
Mit Uns focuses on music, readings and conversations. There will be food and therefore smells in the space. Throughout the evening there will be conversations happening at the tables. This means there can be a loud overall noise in the space. The music acts can be loud.

Detailed content notes, sensory stimuli and allergen information for the Shams Table are provided below.

Relaxed Event

The event will take place in a relaxed atmosphere.
Various forms of attention are welcome. There will be tables in different heights, different seating options, sensory toys*, 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

Shams Table
Iftar dinner + Conversation around the tables can be in the language comfortable for the participents. The materials will be available in German, English, Arabic
During the dinner, each table will have baskets with questions written on folded paper. Participants can use the questions to initiate conversations at the tables.

Content Notes:
-Discussion of religious and cultural fasting traditions.
-Mentions of specific foods and eating practices.
-Reflection on personal sources of hope and resilience.
-Discussion of current social and political conditions.
-Questioning of safety and experiences of living in Germany

Sensory Stimuli:
-Geräuschkulisse durch Gespräche, viele Menschen sprechen gleichzeitig
-Noise of conversations, many people talking at the same time
-Smell of food
-Ambient music playlist by Dj Safsufa

Iftar-Dinner:

Allergens:

Soup:
-Lentils
-Coconut milk
-Garlic

Main Dish and Sides:

Kabsa:
-Almonds
-Onions
-Garlic

Grilled Potatoes:
-Garlic

Caramelized Carrot and Onion Sauce:
-Onions

Daqus-Sauce
-Garlic
-Red chilli

Salads:

Cucumber Salad:
-Milk yogurt
-Garlic

Fattoush:
-Onion
-Gluten
-Sulfites

Dips:

Zucchini Mutabal:
-Sesame
-Garlic

Baba Ganoush:
-Garlic
-Sulfites

Dessert:
-Gluten
-Cheese
-Walnuts
-Hazelnuts
-Almonds
-Pistachio
-Coconut

Wassim Mukdad und Michael Glucksmann
Instrumentalmusik, kein Gesang

Sensory Stimuli:
instrumental oud and guitar with light amplification

Sivan Ben Yishai – Wounds Are Forever
Reading in German

Content Notes:
-Colonial violence
-References to historical and political conflicts and/or aggressions related to Israel and Palestine
-Mentions of violence, war, and military actions against Gaza
-Descriptions of transgenerational trauma
-References to the genocide in Gaza
-References to the Holocaust
-Mentions of murder, corpses, blood, wounds, and injury
-Strong and sometimes sexual language and emotionally charged dialogue
Discussion of violent displacement, exile, and forced migration of Palestinians
-Censorship in the theatre landscape
-References to bureaucracy and systemic oppression against immigrants in Germany
-Themes of identity, belonging, and national narratives
-Scenes of emotional distress and confrontation between family members
-Depictions of frustration and existential questioning
-Tokenization of Jewish voices
-Anti-Palestinian Racism

Hoyah
Music set with instrumental shofar

Sensory Stimuli:
-Electronic music with distorted and textural/granulated sounds
-Shofar (instrument similar to a trombone) can be loud when played

Sinthujan Varatharajah and Tariq Suleiman – Hierarchies of Solidarity
Conversation in English.
This is an open conversation between Tariq and Sinthujan about demanding/expecting solidarity, the limits and compromises within solidarity, the Palestinian Solidarity movement – allyship and visibility. As this in an open conversation, exact content notes cannot be given. Possible content notes are listed below.

Content Notes:
-Racism
-state/colonial violence
-sexualised violence
-genocide
-deportations
-collective trauma

DJ Safsufa
DJ-Set

Sensory Stimuli:
-Loud Dj Set with very fast and strong beats and multi rhythms
-Can contain singing

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.

Mit Wirkung V: Mit Media

The fifth Mit Wirkung event is dedicated to the role of the media in/and repression in a relaxed atmosphere. Starting with a film screening and accompanied by experts from the fields of film, media and journalism, the audience is invited to reflect on the use of media in current social and political conflicts. The event is planned as a relaxed event, i.e. there will be various seating options, a quiet room, stim toys, a soft arrival and information on content and sensory stimuli available in advance. If you want to know more about the Relaxed Event, click on Accessibility below.

With Marc Siegel (PJA)
Film: Ariella Aïsha Azoulay, ‘Civil Alliances, Palestine, 47-48’

Soft Arrival:
14.30-15.00 (film at 15:15)
Breaks are scheduled approximately every 45′. Each break lasts 15′.

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

Mit Media  (مع الميديا)

نكرِّس الفعالية الخامسة ل«مِت ڤيركونغ» إلى دور وسائل الإعلام في/ وممارسات القمع. بدءًا بعرض فيلم، وبصحبة خبراء في السينما والميديا والصحافة، ندعو الحضور إلى التأمل في أثر الميديا على المعارك الاجتماعية الحالية وعامةً. 

بدء الوصول: 14:30-15:00
عرض الفيلم: 15:15
مخطط لاستراحة مدتها 15 دقيقة كل حوالي 45 دقيقة.

هذهالفعاليةجزءمن «مِتڤيركونغ: سلسلةفعالياتريلاكسدحولمواضيعجادة»

التذاكر: الحضور مجاني.

مدة الفعالية: حوالي 4 ساعات

اللغة: اللغات الأساسية ستكون الإنكليزية والألمانية، لكن ستتوفر ترجمة فورية بالعربية أيضًا.

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 requirements related to accessibility.

The event happens on the ground floor and is accessible without stairs.

General Information on Content and Sensory Cues

The Mit Wirkung events address German Racism, with focus on antisemitism and anti-Muslim racism in Germany.
Mit Media focuses on screening films and the use of media. Food will be served during the event, so there will be smells in the space.

Detailed content notes, sensory stimuli and allergen information for the Shams Table are provided below.

Relaxed Event

The event will take place in a relaxed atmosphere.
Various forms of attention are welcome. There will be tables in different heights, different seating options, sensory toys*, 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

Civil Alliance, Palestine 47-48 – Ariella Azoulay (2012)

Film in Hebrew and Arabic with English subtitles
52,36 minutes

Content Notes:
-The film documents examples of reconciliation, forgiveness, and efforts to establish peace between Jewish and Palestinian people in Palestine.
-It includes mentions and narratives of murder and violence between Jewish and Palestinian communities.
-Mentions and accounts of nationalist and military violence.
-The entire film takes place in a single scene with no scene changes.

Sensory Stimuli:
-Fast subtitle transitions, which may make reading difficult
-At the beginning and end of the film, multiple voices overlap in Hebrew and Arabic
-Several speakers talk simultaneously, especially during live translations
-Continuous static camera work, as the entire film unfolds in a single scene
-At the very end of the film, there is a longer text displayed in white letters on a black background. The letters are relatively small.

Marc Siegel
input

Content Notes:
-No content notes given

What it´s like to live in Germany as a pro-Palestinian – Witness Documentary – Palästina: Verboten in Berlin, ein Dokumentarfilm von Nahed Awwad und Mariam Shahin (2023)
Short Film in German and Arabic – with German subtitles
25,20 minutes

The film follows a Berlin-based lawyer and her colleagues as they fight against the suppression of Palestinian voices in Germany, defending constitutional rights amid increasing restrictions and crackdowns on Palestinian activism.

Content Notes:
-Scenes of pro-Palestinian demonstrations in Germany
-Scenes and mentions of police violence against demonstrators
-Mentions of deportations
-Mentions of bureaucratic racism against Palestinians
-Institutionalized racism against Palestinians
-Criminalization and repression of pro-Palestinian voices in Germany
-Mention of racial profiling
-Mentions of the Nakba
-Mentions of the Holocaust
-Mentions of the Intifada

Shams Table

Sensory Stimuli:
-Noise of conversations, many people talking at the same time
-Smell of food

Allergens:

Eggplant Stew (Mnazalet Batinjan):
-Chickpeas
-Onion
-Garlic
-Fresh coriander

Rice:
Fresh Coriander

Pasta Salad with Pesto:
Mozzarella cheese (milk)

Banana Wrap:
-Sesame
-Sulfate
-Walnuts
-Hazelnuts
-Almonds
-Coconut
-Gluten

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.

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.

#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.

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.

  

The performance is part of a cycle of work by theater and filmmaker Tobias Yves Zintel, in which he deals with various facets of his own family history: in »Mental Radio« (2012) and »Autistische Spiele« (2020/2021) he explores aspects of neurodiversity and social exclusion; In »das ist dunkel, das ist hell« (2017) he sheds light on the fragility of memory and the construction of spaces of remembrance in the context of the Nazi era, family and the narratives that emerge from it, interlocking them with contemporary perspectives; in »Damage Done« (2025) he deals with dementia, ruptures in memory and family dynamics. His works combine personal biography with socio-critical reflection and question established narratives through a multi-layered, cross-media artistic practice.

The performance on 22.02. will be followed by an artist talk with Theaterscoutings Berlin.

CONTENT NOTES

Dementia, memory loss and loss of control, family conflicts and emotional overload, physical and psychological violence, recurring speech patterns, scenes of helplessness and disorientation, high emotional intensity. Use of explicit archive material, reflection on ethical questions and individual boundaries.

Glaring lighting effects, strobe flashes, demanding acoustic design, dense atmosphere.

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

لکچر-پرفورمنس «تاریخ اجرا» از آثاری می‌گوید که توسط هنرمندان در بند در زندان‌های ایران شکل گرفته و اجرا شده‌اند. چگونه می‌توان یک تمرین هنری را در محدوده‌های یک زندان حفظ کرد؟ چه اشکالی از اجرا در چنین شرایطی قابل تصور هستند؟ هنرمندان چه نقشی در فرآیندهای تحول اجتماعی ایفا می‌کنند؟

 در تاریخ هفتم مارچ، پس از اجرا گفتگویی با مریم پالیزبان و آزاده گنجه برگزار می‌شود

The Lecture-Performance »Date of Performance« reports on performances staged by imprisoned artists in Iranian prisons. How can an artistic practice be maintained within the confines of a prison? And what forms of performance are conceivable in such conditions? What role do artists play in social transformation processes?

 

The performance on 07.03. will be followed by a talk with Maryam Palizban & Azadeh Ganjeh.

Trouble

»Trouble is an interesting word. It means ‘to stir up,’ ‘to make cloudy,’ ‘to disturb.«
(Donna Haraway: Staying with the trouble)

We have made clouds and expose ourselves to storms. We ask: How do we remain stable in the eye of this tornado of information and unsettling news? We often feel powerless in the face of all this trouble. Sometimes we would just like to hide and pull the covers over our heads. But: We don’t want it to stay that way!

Inspired by stories and figures from the wonderland of Oz, five performers between 11 and 44 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?

 

The performance on 28.03. will be followed by an artist talk.

 

N O T E S:
There are intense light and fog effects as well as dazzling lights and reflections. In some places there is loud and sudden music, loud noises and loud screaming.
In one scene, magic tricks are performed (sawing, sword swallowing) but nothing happens to anyone.
In some dialogues, threatening future scenarios are told that deal with the climate crisis and war.

REINHEIT

The work is inspired by the examination of historical and contemporary concepts of control concepts of control, security and cleanliness — individually and socially, as an engine of civilization, as a means of emancipation and oppression.
»REINHEIT« meticulously recontructs a seemingly endless, compulsive loop of hand-washing from the heyday or the Covid pandemic.
 

Oliver Zahn is a theater maker and performer. His work is always based on extensive research – ethnographic, archive-based and embodying self-experimentation.

 

The Great Grand Other

»The Great Grand Other« examines the transmission of war memories and traumas across generations. Between scenic concert, installation and performance, a poetic-musical search takes place, the starting point of which is a blank space. Making silence resound and asking about the traces of war in our own families and in ourselves.

The performance on April 11 will be followed by an audience discussion.

Note
Sturdy shoes are recommended!

WEOST

WEOST is a documentary theater machine that deals with the ambivalent perspectives of young people on a time of upheaval and change. It transforms these moving stories about identity and the past into a participatory space for a transgenerational audience.

Mit Wirkung

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

«مِت ڤيركونغ» (تشارك): سلسلة فعاليات «ريلاكسد» حول مواضيع جادة

في ظل أجواء الانقسام في برلين، حيث الخطاب السائد مشوَّش والتعريفات مسيَّسة، تهدف سلسلة فعاليات «مِت ڤيركونغ» إلى طرح وسائل التضامن وإلى خلق مساحات للسمع والتعلم والتأمل والتبادل. مرتكزة على الروابط في النضالين ضد العنصرية تجاه المسلمين ومعاداة السامية، تدعو «مِت ڤيركونغ» الحضور إلى التفاعل مع رؤًى مختلفة، وتساؤلات، وتحديات متعلقة بتلك النضالات.

اللغة: اللغات الأساسية ستكون الإنكليزية والألمانية، لكن ستتوفر ترجمة فورية بالعربية أيضًا.

Language
The main languages are English and German.
Simultaneous translation into English, German and Arabic will be provided.

Upcoming events:
22.03.2025
Mit Uns
23.03.2025
Mit Media
25.04.2025-27.04.2025
the land speaks to me of something shared: a prayer for ancestral rhythms

Past events:
11.12.2024
Mit Denken
12.12.2024
Mit Sprechen
06.02.2025
Mit Machen 

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.

the land speaks to me of something shared: a prayer for ancestral rhythms

Rhythm travels, Rhythm migrates, Rhythm adapts, Rhythm resists. Rhythm is a vibration that synchronizes your heartbeat to the heartbeat of another. In this performance, Rhythm is the character of Jewish diaspora, reaching back in time to shared Jewish-Muslim worlds: worlds that were not defined by borders, nationalisms, or divisions that emerged with the advent of colonialism. Artist Anna Lublina and musician hoyah work with tap dance, extended vocal techniques, and live mixing to ask what the political and cultural history of diasporic Jewish rhythm (and its embodiment) can teach us in a time marked by polarization and violence.

Anna Lublina and their team are all artists trying to flee the confines of nationalism in the spirit of Doykeit.

On April 25th will be an additional performance as part of part of »Mit Wirkung. Eine Relaxed Veranstaltungsreihe über intensive Themen«

Dyke*haus Ost: Graduation

After a month of training, the 13 graduates of this years Dyke* High will be present their showcase and the hottest graduation you have ever been to. . .

Magic Dyke* is a masc Dyke* stripping group based in Berlin by and for lesbians, queer women, non-binary, trans, intersex and agender people showing masc stripping from non-cis masculinities and give butches, studs, bois, mascs and genderfuckers a stage to feel sexy in a world that tells them they aren’t. Since May 2022, Magic Dyke* creates sensational shows and provides a party that is a safe space for the SLINTA* (sapphic, lesbian, intersex, non-binary, transgender, agender) community in Berlin. A safe door policy that doesn’t judge based on appearance, queer SWer-led SLINTA*-only darkroom, sex-positive atmosphere and effort to make it as inclusive an environment as they can. Through them, people get to see butches, studs and other sapphics with masc expression being seen as sexy, creating a sense of euphoria in all those who identify with or are attracted to butchness.

H O U S E R U L E S


Please note: Tickets do not guarantee entry and there are no refunds so please read our rules before purchasing and coming to the space. 😉 You may be asked to confirm one or more of these rules on the door.

INCLUSIVITY
Never assume someone’s gender, pronouns or ability. Dyke* does not mean cis lesbian woman. We do not tolerate racist, Islamophobic, antisemitic, ableist, fatphobic, TERF or SWERF ideology.

CONSENT
We are a masc str*pping party and have our bodies on show for you. We will have a system in place on the night to give or not give your consent to the Dyke*s, but under no circumstances should you touch the Magic Dyke*s or other people without their express consent. This will result in your expulsion from the venue.

SLINTA* SAFE SPACE
We will have our own door to ensure SLINTA* (sapphics, lesbians, intersex, non-binary, trans, agender) are prioritised. Please keep this in mind. If you are concerned about presenting a certain way please don’t be! Our door does not discriminate on appearance, only if you do not know our rules, are hateful to others or too intoxicated. Please tell our team or Ballhaus team if you feel uncomfortable at any time.

CORONA
We ask and recommend to please take a corona test to protect everyone in our community and if you have symptoms to stay home. Masks are optional but encouraged… Don’t be ableist!

NO SMOKING inside.
NO PHOTOS, NO VIDEOS.
NO CULTURALLY APPROPRIATIVE WEAR OR HAIRSTYLES PERMITTED.

Dinner for One

In “Ibsen Gespenster”, the Markus&Markus theater collective portrayed Margot, an 81-year-old woman who planned her own death with a Swiss euthanasia organization, in 2015. The collective accompanied her in the last weeks of her life. Before and after the shootings, there was something to eat for refreshment.

The collective is now inviting people to these meals. What was served at the time will be served – along with the behind-the-scenes videos in a continuous loop. A cordial invitation to join us at the table!

 

Markus&Markus theatre collective is working together since 2010, consisting of Lara-Joy Bues, Katarina Eckold, Markus Schäfer and Markus Schmans. Together, the collective stands for an original form of political theatre: They portray protagonists through whom the treated topic moves closer to the audience. The work is characterized by intensive research that is captured on camera and in this way brought on stage.


 

CONTENT NOTE

This play explores themes of death, assisted dying, and suicide

To Mom, I want to …

Based on four Chinese artists and their mothers, the documentary theater piece explores their diaspora experiences and the dynamics of their feelings and perceptions of home. The tendency towards cultural de-globalization plays just as much a role as the uncertainty of mobility, the tension of multiple identities and the redefinition of diaspora in the contemporary context.

The Berlin-based collective Nomadic Minutes consists of the artists CAO Kefei, ZHOU Niannian, ZHANG Deng and LIU ShiYu. They were born in China in four different decades, live and work in Germany and are active in artistic creation and cultural exchange between the two continents. »To Mom, I want to…« is a co-creation with author and playwright Jiayun Zhuang, who lives in China and the USA.

这部纪录剧场作品以四位中国艺术家以及与她们母亲的关系为核心,探讨她们的离散经验以及对家园情感和认知的动态变化。这是一个无法回避的两难问题:一方面是世界公民对单一归属感的疏离,另一方面是她们对母亲和家园深层而又复杂的情感。该作品揭示了个人如何不断跨越语言、时间和空间的边界,如何应对信息不对称和社会文化差异。面对文化去全球化的趋势,作品进一步思考流动性的不确定性、多重身份的张力,以及重新定义“离散“在当代背景下的意义。 

柏林剧场组合游牧分钟 由艺术家曹克非、周念念、张灯和刘诗雨组成。她们分别出生于中国不同年代,活跃于中德两地的创作和文化交流。对妈妈,我想 … 是与居住在中国和美国的编剧兼戏剧构作庄稼昀的共同创作。 

The premiere on May 10 will be followed by an audience discussion.

Kindheiten

Children from Leipzig, Zurich, Duisburg and Berlin talk (about) themselves and their lives – sometimes predictable, sometimes surprising, sometimes unadapted. The texts are spoken and acted by adults. The result is a polyphonic and idiosyncratic picture in which fiction and reality, past and future seem to dissolve into the present. An evening that tries to take children seriously and give them their own perspective.

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.

Talkhaus Ost: SYMPOSIUM

SYMPOSIUM is not a conference, nor an artist talk. SYMPOSIUM is a night of experimental lecture-performances and it thanks you for your attention. SYMPOSIUM welcomes professional and non-professional performers alike to mis- and re-purpose the slideshow as a medium — to share a niche interest, to seduce their crush, to dance with knowledge, to invent a new persona, to lose the plot, to move to tears, or to make something up. They each have 15 minutes. They may approach this with playful exuberance or intense seriousness.

 

Curated and stewarded by Miriam Woodburn, Dora Dubber and Nelya Ahmia, SYMPOSIUM emerges from their Berlin-based »Presentation Club«, an event series featuring 10-minute PowerPoint presentations on niche topics.

 

Confronting the Shadow

»Confronting the Shadow« by the Ukrainian director Tamara Trunova is a co-production between the Left Bank Theatre in Kyiv and the Performing Exiles Festival. The work is an attempt to represent and highlight the theme of absence.

 

Performing Exiles is an international and interdisciplinary festival produced by the Berliner Festspiele, that seeks to make diasporic lives in the city of Berlin visible and explore the contemporary meaning of exile. Performing Exiles will take place from 19 to 28 June 2025 at the Haus der Berliner Festspiele, the HAU – Hebbel am Ufer and Ballhaus Ost.

TRUEMMER

In their new work »TRUEMMER«, Jan Koslowski and Marlene Kolatschny explore the idea of the broken, the leftover, the removal of remnants and loss together with the ensemble.

Jan Koslowski, director and author, and Marlene Kolatschny, dramaturge and author, have been friends and collaborators for many years.

2 ½ Krähen

Along the river Elbe the last ice age divided the European crow population into two evolutionary lines. On the anniversary of the melting of the glacier, raven and hooded crows rehearse a joint ceremony. The audience is caught in a field of hearsay, attributions and self-images. How can division be overcome?

Sebastian Mauksch & team develop theatre as a space of experience for children and young people. Through the interplay of acting, dance, text, visual arts, sound and technology, they explore social issues with the audience and invite them to try out their own attitudes and actions.

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«

Mit Sprechen (نتحدث معًا)

في الأمسية الثانية من «مِت ڤيركونغ»، يخوض خبراءٌ في حوار للتأمل في تغيرات الخطاب السائد في برلين، وفي تعريفات معاداة السامية المثيرة للجدل والعنصرية ضد المسلمين، وإمكانية ربط النضالين معًا. تُختتَم الفعالية مع فنانة الطعام البدوية سمر أبو فريحة، في أمسية من الضيافة والثقافة والتواصل. 

هذهالفعاليةجزءمن «مِتڤيركونغ: سلسلةفعالياتريلاكسدحولمواضيعجادة»

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 will be linked 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«

Mit Denken (نفكر معًا)

نُكرِّس الأمسية الأولى من «مِت ڤيركونغ» لنتعلم معًا. في مجموعات صغيرة، سنيسر نقاشاتٍ معقدة حول العنصرية ومعاداة السامية وممارسات القمع. ندعو الحضور إلى طرح الأسئلة، والقراءة، وتبادل الأفكار سويًا ومع الخبراء.

هذهالفعاليةجزءمن «مِتڤيركونغ: سلسلةفعالياتريلاكسدحولمواضيعجادة»

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

»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.

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.