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.

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