Two peformers encounter the audience in a live experiment with human and technologized modes of perception. In the hybridity of human senses, emotions, projections and spatial fluidity, they make the area between categorizing gazes their world and discover in it the poetics of glitches – disturbances in the system.
Gloria Höckner is a freelance choreographer and performer. Gloria’s artistic works deal with the relationship of the body to technology and power structures as well as the transformational potential of sound experiences.
The improvisational vocal collective from Hamburg resides for a week at Ballhaus Ost. After two music theater projects, artistic practices and authorships have developed out of the versatile group. The TakeHeart residency at Ballhaus Ost serves to gather this multiplicity under one roof. Voices and hierarchies are once again reshuffled. Which narratives, texts and melodies emerge from the choir itself? How can the multiplicity be made audible? On Sunday, the choir opens its doors for a live listening session open to the public, inviting you to listen to new compositions, narratives and improvisations in a relaxed atmosphere over a cup of tea.
Der extrem gemische Chor is a musical theater ensemble founded in 2017. The ensemble’s composition strives for vocal heterogeneity, encompassing a wide range of ages, professionalities and musical imprints.
The interactive radio play »Beton. Wüste. Zukunft.« invites you to trace your own cognitive dissonance between real climate crisis and fatalistic repression. With dripping sounds, diving meditation and thought experiments, big questions are asked and small steps towards utopia are dared.
Alisa Tretau’s multidisciplinary works revolve around shameful facets of current political issues. The 360° short film »Wüste Zukunft« already revolved around climate justice. Previously she published the anthology ‘Nicht nur Mütter waren schwanger’ (edition assemblage).
Melanie Schmidli and team reanimate the lost sounds of historical “hysterical” women*. In an installative sound world they invite to conversations with experts on the female* voice. Finale: a participatory concert by Kreischende Weiber* including dinner.
For some time now, the actress and director Melanie Schmidli has been dealing with the discourse of hysteria as a means of social exclusion and oppression of women* in her work cycle Divina Hysterika. The multi-layered artistic process takes place in changing formats and collaborations. “Kreischende Weiber*” is the second collaboration with dramaturg Almut Wedekind, freelance artist and scenographer Barbara Lenartz, and actress and assistant Saskia Mommertz in this context. For the first time the team collaborates with the sound artist and noise maker Almut Schwacke.
The dancers listen to the space, inwardly and to each other, and move in response. In the four-hour process, they learn from what they hear to find other ways of moving. A highly sensitive mode of slow attention.
Labor Sonor – the series for experimental music, film and performance – presents the spectrum of current experimental formsbeyond genre-specific determinability – from real-time music to electronics, performance, audiovisual formats, conceptual music, new composed music and experimental pop.
A Durational Online Festival A new festival: It’s about time! It’s about time! (Es ist Zeit!) It’s finally about time! (Es geht endlich los!) It has been about time (Die Zeit war reif) since November 2020. Back then many people were supposed to come together for four days in very small spaces for very long or very short performances. But the festival went with time and transformed its essence: It moved its program into the endless time and space of the Internet and will present itself there from September 2021. Curated by Anne Brammen, Monika Gintersdorfer, Tina Pfurr and Daniel Schrader, the Durational Online Festival It’s about time will develop, present and archive artistic works by Barbara Lenartz, Club Real, Elisabeth Tambwe, Felizitas Stilleke | Smruthi Gargi Eswar, GRUPO D3 CHOK3, Markus&Markus, ONCE WE WERE ISLANDS, vorschlag:hammer, vt corp. and many more for an unpredictably long period of time. It’s about time is a tribute to durational performances that allows art to take its time. It is a festival that will last.
Für das Projekt »Re/Locating Amo« haben sich ghanaische und deutsche Theatermacher:innen zusammengetan, um Anton Wilhelm Amos Leben und Denken theatral zu deuten und für einen transkulturellen Dialog um Themen wie Rückkehr und Zugehörigkeit, Tradition, Identität und Philosophie als Anlass zu nehmen.
Gibt es den gerechten Tyrann:innenmord? Einen vertretbar militanten Widerstand? Einen ethischen Terrorismus? Schauspielerin Karin Enzler (Schweiz), Punkmusikerin Stéphanie Morin (Frankreich) und Choreographin Maque Pereyra (Bolivien) kämpfen sich in drei filmisch-performativen Solos durch die Geschichte bis zur Gegenwart.
Gerhart Hauptmann’s Helene shows effects of increased alcohol consumption in her own milieu and her family, from which she cannot break away until the tragic end. Blomen, Moré and Reiniger question Hauptmann’s text “Before Sunrise” and complement it with their own and imagined experiences.
New session with Linda Fisahn, Christian Fleck & Lis Marie Diehl
June 2, 2022, 6.00 pm
After what feels like a hundred years, three members of the theater group I CAN BE YOUR TRANSLATOR meet again on the Reeperbahn and welcome the newborn baby, uncover the secrets of the father-to-be, and process together how things can and will continue with children and career. Head cinema guaranteed!
Felizitas Stilleke aunt, curator, dramaturg, artist and person, gathers in herself and in seven performative podcast sessions voices of international artists for a collective discourse rededication. Searching for words for not-yet/not-more/maybe/motherhood.
