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.

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

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

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

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

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

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

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

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

Link zum Film: als-susan-sontag.de

Ein Paar zieht sich auf einer einsamen Berghütte zurück. Sie fechten, tanzen, singen. Als der Schneefall einsetzt, fangen sie an Ermittler:in zu spielen. Was ist in der Hütte vorgefallen? Sie tun so, als würden sie Zeug:innen befragen und Verdächtigen auflauern. Dieses True Crime Theater verknüpft Selbstfindung mit Spurensuche und Realitätsverlust mit Erkenntnisgewinn. Oder wird hier tatsächlich ein Verbrechen aufgeklärt? »Chalet Utah« nutzt Mittel, die im Lockdown Notwendigkeit waren, aber auch neue Wege eröffneten: Der Laptop als Mitspieler, die Kamera als Verbindungskanal und der Bildschirm als Bühne. Und für Zuschauende im Theatersaal immer auch die Möglichkeit, hinter die Kamera zu schauen.

Schauplatz International wurde 1999 von Anna-Lisa Ellend und Albert Liebl gegründet und hat seitdem über 50 Stücke, Performances, Aktionen, Filme und Hörspiele entwickelt. Im Ballhaus Ost war zuletzt ihre Trilogie (»Idealisten | Fundamentalisten | Egoisten«) sowie »Cap Escape Plaisance Club« zu sehen und als Shutdown Special der Live-Podcast »Le garage de la grande promenade (Part I & II)«, ein erster Entwurf von »Chalet Utah«.

Tremble. Touch. Sense if that rock is a rock or an alien. Harmonize with chemicals. Transform. Vibrate. Breath. Confound the »human« with your smell organs.Aliens embody the threatening – the absolutely different – the foreign, the other, the incomprehensible, the feminine, the wild, the chaotic and the monstrous! Their bodies guard the boundaries of the possible and threaten all order. In »COSMICBODIES« seven alien bodies move from their own inner world into outer space – until outer space and inner space merge.
»COSMICBODIES« is a dance piece for people with and without visual impairments and integrates an artistic audio description. After »Blue Moon« and »Witches«, is it is the third work by Ursina Tossi from »EXCESSIVE SHOWING you can only dismantle the master’s house with the monster’s tools!«, a choreographic series of critical queer-feminist perspectives on the constructions of femininity and monstrous bodies in the context of mythology, history(-ies) and pop culture.