Come and play! Throw all your heritage into the balance.
A 40-something woman wants to have a baby and invites the audience to play the game of life with her. Based on scientific and social developments, it is about the very personal gut feeling and socially profound decisions…
After the performances »Die Natur der Kinder« (2016), »Unser Erbe« (2018) and »Good Advice« (2021), willems&kiderlen continue their artistic research on physical, social and material heritage and passing on. »Das Erbe – Schon cool, was da alles möglich ist!« is based on interviews with people affected by a heavily burdened heritage as well as with experts and scientists.
Horwitz|Shapiro|Wagner investigate, rewrite and transform Jewish and queer rituals and create a sound space for the drag of religion between dance music and contemporary sounds. They situate traditions and histories as artistic practice and write a herstory of their own history with the political responsibility of marginalization as queer, Jewish artists.
Theater maker Heinrich Horwitz and drummer Jonathan Shapiro have been experimenting together since 2018 in changing constellations and genres at the intersections of music, performance, dance and language. After »DREAMS*« (Nürnberg 2022), »Drag & Drum« at Ballhaus Ost is their second collaborative work with performer, opera singer, songwriter and drag queen Shlomi Moto Wagner aka. Mazy Mazeltov.
A post-apocalyptic chamber play about the social center and the brutality of the normal. While everything is falling apart outside, a small piece of the good life still remains in Sector 75B. “Why,” WOMAN and MAN ask each other, “should you give things up in such hard times – especially when you’re trying so hard to be a good person in the process?”
FEELINGS comprises the stage, sound and online works, artistic research, games and feelings that Jil Dreyer and Josef Mehling have been developing with and for each other since 2017. They have previously shown work at the Staatstheater Mainz, FELD Theater Berlin and Gessnerallee Zurich, among others. »Society Intact« is their first work at Ballhaus Ost.
N O T E:
Part of the performance includes loud noises and flickering lights.
Prior to the performance, there is the option of “early boarding.” This means that those who wish can be given more time and, if necessary, assistance in entering the auditorium, finding a seat and sitting down.
Content Note
On stage, a white couple presents itself as “normal” and distinguishes itself from the socially devalued. In doing so, they use, among other things, classist and racist argumentation patterns.
One scene explicitly deals with fatphobia.
There are representations of sex.
Suicidal thoughts and eating people are mentioned but not depicted.
Feel free to contact us with questions about these scenes via info @ ballhausost . de
Bulimia literally means “bull hunger”, so Cy Linke throws themself and their inner bulls into the arena. Between the Pope and Madonna, as bullfighter and bull, Linke asks whether eating disorders* are protests against binary or sexist structures or how these structures produce eating disorders*?
Author, director, performer and bodyworker Cy Linke studied Philosophie-Künste-Medien in Hildesheim, directing at the HfMT and the ZHdK & believes in the power of vulnerability. Parallel to »Stierhunger«, Linke asks in »Sex und Kartoffeln« at the Theater Magdeburg how sexualities can be decolonized.
Content Note: Addressing eating disorders* and sexualized violence
In the piece, Cy Linke uses the terms “eating disorders” and “sick” to take an intermediate step, as an ex-sufferer of bulimia and other eating disorders, in the self-appropriation of these foreign terms, towards softening the binary of “healthy” and “sick” in the long term.
Acoustic installative processes in holey darkness. Enigmatic figures write themselves with an archaic script through dreams whose personnel they once were. A reduced web following lush dream logic.
The Solistenensemble Kaleidoskop sees itself as co-authors of the collaborative productions. In years of collaboration with Georg Nussbaumer, new forms of experimental music theater are explored. A place that has the power to imagine other futures.
N O T E: The performances are not barrier-free, as the audience moves through the different floors of the house on their own initiative after dark. Visitors with visual impairments can register for a guided performance at the box office up to 15 minutes before the performance begins.
Whirlpools of packaging waste circulate in the ocean. Feminine sharks glow. Nimble hands fold oversize origami. Ropes become noodles, intestines, ghost nets. Care-Pas de Deux and Slow-food Porn meet at the wok campfire of a Thai megacity. In a dance performance, the visual cosmos of a glutamate-soaked fast food world is unleashed. From a Eurocentric point of view, hard-to-digest realities of life ritually lead into absurd waters.
Dasniya Sommer seeks connections between digestion, artificiality and culture with Michael Schumacher of the inclusive ensemble Meine Damen und Herren, MMA performer Fungi Fung, eco-feminist dancer Tara Jade Samaya and exception dancer Yui Kawaguchi. Through reflections on hydrofeminism and ‘Bodies of Water’, this creates an oscillating projection surface for a critical engagement with anti-Asian racism.
Haus Sommer is the network label of dancer and choreographer Dasniya Sommer. In changing collaborations with other artists, she explores and expands the formal language of classical ballet under the influence of shibari, body art and contemporary performance art.
Content Note
The play addresses anti-Asian racism. Restraint techniques are used on stage.
Following the performance on 13.5. the fifth part of »Die Suche nach der Ur-Oper« by Das Helmi will take place at the bar.
We die alone. We bury together. A participatory performance that explores the political and theatrical nature of the funeral ritual and deconstructs its settled mechanism. A ritual for which it is impossible to be fully prepared, but during this rehearsal any last wish can be fulfilled.
Natasha Borenko – a Siberian-born fluid theater maker, queer feminist migrant artist, who sees participatory art as a tool to deconstruct the system and rehearse the change. She develops this piece in collaboration with cross-cultural interdisciplinary artists.
Andrea Neumann has been playing the same instrument for 20 years: a self-made piano frame without a keyboard. For »Tossed Sounds« three pieces were written for the composer and musician, by performer Antonia Baehr, dancer Fernanda Farah and Andrea Neumann herself. On one condition: The instrument is absent from the stage. What remains of a musician without her instrument? What traces does it leave behind? What can be heard?
As part of »Introducing…«at Performing Arts Festival 2023
How can an archive come alive? Can an archive become a time hole through which we can climb into new futures? Between a futuristic video world and car tires, Salma Said and Miriam Coretta Schulte explore the subversive video archive “858” of the 2011 Egyptian Revolution and the potential of choreographic mnemonic techniques.
N O T E: The show deals with topic of violence.
Salma Said and Miriam Coretta Schulte are partners in crime, friendship and performance. Since 2018, the duo has been developing an artistic practice that combines situational knowledge of their different backgrounds and contexts, a desire to experiment with activism and political issues. »behind your eyeballs« is their first joint project. »Court Fantasies« follows and will premiere in May 2023.
Bacteria live almost everywhere. In »Holobiontinnen« two performers make contact with the bacteria on their bodies and beyond. A network of performers, audience, microorganisms and machines emerges.
Eva Hintermaier / Simon Kalus are a transdisciplinary team at the intersection of performance, literature and installation. They are interested in human-nature relationships and interweavings of biological with aesthetic phenomena.
N O T E: Audio description is an integral part of all performances.
Accompanying the performances are tactile tours aimed at visually impaired people. They are also open to the public. The tactile tours make it possible to get to know the stage space, the equipment and the performers in advance. The tours are led by Sebastian Schulze and Simon Kalus. The meeting point is always 1.5 hours before the performance in the foyer.
