SIGNUP IS CLOSED DO YOU WANT TO BE PART OF OUR SHOW?? If you have an idea for something new, something you always wanted to try but never dared to or maybe you’re just tired of trying to be perfect and happy to share something you’re bad at and your vulnerability with us – WE HAVE A STAGE FOR YOU! »The Untalented Show« is a cabaret-style performance, disguised as a talent show. The show gradually turns as audience members are drawn in and become part of the action! Drawing on the nostalgia of early 1960s and early 2000s TV game shows, »The Untalented Show« combines live camera footage with in-person voting, culminating in a final cheer-off to choose the winner from the two finalists—one judges’ favorite, and one audience pick. Immersive, unpredictable, and full of playful tension, anything can happen, and often does. By the end, you feel part of a shared adventure where mistakes are celebrated, absurdity is king, and the joy of connection and risk is fully realized. Everyone is invited to participate, fail gloriously, and improvise alongside the performers. In a culture obsessed with polish, screens, and curated identities, this show offers a space to be messy, silly, and daring, all while building community. »The Untalented Show« began at the Palace Arts Residency in Poland and have since sold out two editions at 90mil in Berlin, with over 200 people attempting to attend the first night alone. Backed by an off-beat, absurdist, word-of-mouth campaign, The Untalented Show is quickly gaining traction thanks to its community and their shared urge against perfectionism and in favor of silliness.

Facts don’t have it easy on social media. That’s where we step in. »Fun Facts« is a new entertaining news format that uses humor and well-known personalities to give facts more reach. Well-known fact enthusiasts present—humorously and constructively—what really matters. In this way, we give facts a boost and get people off the couch. The hosts change daily, because Fun Facts is a collaborative project.With no broadcaster and no corporation behind it—launched and supported by the artists themselves. Instead of agitation, hypocrisy, and hate, Fun Facts offers humor, integrity, and hope. Our research and journalistic analysis are carried out in cooperation with CORRECTIV. At Ballhaus Ost, Raúl Krauthausen presents a special focus episode of Fun Facts in front of a live audience. For the rest of the evening, Marc-Uwe Kling reads from The Kangaroo Rebellion.

The theater project »Black Box« is based on a play by Belarusian playwright Pavel Pryazhko and explores the complex intertwining of past and present in the countries of the former Eastern Bloc. »Black Box« addresses nostalgia, the longing for a childhood free of responsibility, and the disturbing repetition of behavior patterns shaped by a legacy of violence and oppression. The characters in the play exist on two time levels: 1986 and 2016. 1986 is the second year of perestroika, and in 2016, Belarusian President Lukashenko is in his fifth term in office. In 1986, Alexey, Marina, Sergey, and Valery are twelve-year-old schoolchildren. In 2016, they are forty-two years old and seem to have been transported back to their former boarding school, where everything—except themselves—seems to have stood still in time.The production explores the intersection of two realities: the filmed past and the immediate, lived present. Analog video formats explore on stage how visual material influences the perception of reality. Musician and composer Dmitrii Vlasik, known for his work with experimental sounds and electronic textures, is developing a composition for »Black Box.« aliveduo is a creative partnership between Alena Starostina and Ivan Nikolaev, who emigrated from Russia to Dresden in 2022, where they had been among the leading figures of contemporary theatre. In Germany, they continue their practice in the field of time-based media. In their projects — whether theatre or film — they work with analog material, which they value for its tactile, physical imprint of time. After both performances, a post-show discussion with the audience will take place.

In Horseland, the Lesbian Law states that any contact between femmes and butches is strictly forbidden – except for the highly commercial cow handover! But when the Butches forget a screwdriver after a trade with the Femmes, Sandy has to leave the Femme Farm for the first time to take the tool back to the Butch Barn. There she meets Corky – one touch is all it takes to ignite a blazing desire that threatens to end everything in chaos… Sandyatemyheart is DIY, show, and glamour. The artists transform queer-feminist theory into humorous entertainment, searching for stories that they themselves feel are missing on stage. With shows in Munich, Halle, Leipzig, Giessen, and Heidelberg, they thrilled lesbian audiences, their allies, grandparents, and bourgeois theatergoers.

WHISTLE is a duet at the uncomfortable intersection between the demand to perform and the need to rest. Centered on the experience of tinnitus as well as the idiom »whistling in the dark«, the work treats the »whistle« as both a divine wake-up call and a sedative to mask fear. Amidst alarms and lullabies, the performers tap into heart-opening movements as unstable choreographic states, where opening holds both the promise of connection and the threat of exposure.  Miguel Witzke Pereira approaches the body as a psychosomatic archive, exploring the politics of affect through dance, choreography, and embodied forms of superstition. His work engages with practices of protection and care to unsettle the »masculine armor« imposed by patriarchy. This research approaches the body as the whistleblower and unfolds in close collaboration with dancer Dasha Belous and musician Angelo Harmsworth. 

Four fresh, cheeky, dashing drama graduates from the Max Reinhardt Seminar in Vienna have joined forces and developed a crisp Schubert evening. He would probably be angry if he knew he was being presented unshaven. The ground remains Schubert; his three-day beard—on which they dance—consisting of jazz and folk, transitioning to rock, and finally into brand—er, boundlessness.

ENHow can we express our feelings when the environment has never been allowed to become familiar? What dynamics are at play when communication with parents breaks down? Is the language barrier to blame? How do we navigate these challenges as perhaps the first generation openly questioning them? In Hörst du mich?, three protagonists grapple with the silence that often accompanies such disconnects. Hörst du mich? is a theatre project that explores the breakdown of communication and language from the perspective of second-generation Vietnamese Germans. The narrative delves into the daily struggles between two cultures, the complexity of multiple identities, and the pervasive sense of generational loneliness. The goal is to create a space where those affected can find a sense of belonging—whether in cultures, languages, or within themselves. Benjamin Truong is a Vietnamese-German director who focuses on the accessibility of theater and seeks for a community feeling. Benjamin’s productions are created through the interplay of dance, music, and language, aiming to make theater tangible in an approachable and sensual way. It is particularly important for him to not make theater exclude his own parents. For him, theater is a place for everyone. Introduction approx. 15 minutes before each performance. The introduction will be held in German, English and Vietnamese. VIChúng ta có thể nói về cảm xúc ra sao khi không gian dành cho chúng chưa từng là một nơi thân thuộc? Những yếu tố nào dẫn đến việc giao tiếp không thành với ba mẹ? Có phải chỉ do rào cản ngôn ngữ không? Chúng ta có thể làm thế nào, khi dường như, chúng ta là thế hệ đầu tiên cất tiếng hỏi những điều này? Ba nhân vật chính trong vở kịch cố gắng dịch điều khó giãi bày. Hörst du mich? là một vở kịch về những nỗ lực không thành trong giao tiếp và ngôn từ – bởi những người gốc Việt thế hệ hai, sinh ra và lớn lên tại Đức. Câu chuyện được kể từ góc nhìn của những xung đột hàng ngày giữa hai nền văn hóa, những đa dạng bản sắc, và sự cô đơn mang tính thế hệ. Vở kịch muốn tạo ra không gian để các thế hệ tìm thấy những điểm chạm – dù là trong văn hóa, ngôn ngữ, hay với chính mình. Benjamin Trương là một đạo diễn người Đức gốc Việt chú trọng đến việc đưa sân khấu đến gần hơn với công chúng và tìm kiếm cảm giác cộng đồng. Các tác phẩm của Benjamin ra đời từ sự tương tác giữa vũ đạo, âm nhạc và ngôn ngữ, nhằm mục đích làm cho sân khấu trở nên hữu hình, dễ tiếp cận và dễ cảm nhận. Điều đặc biệt quan trọng đối với anh là không để sân khấu loại trừ chính cha mẹ mình. Đối với anh, sân khấu là nơi dành cho tất cả mọi người. Với lời giới thiệu bằng tiếng Đức, tiếng Anh và tiếng Việt. Ghi chú nội […]

We inaugurate the sports festival: The curatorial team presents the festival program and we experience the BHO Fight Night: twelve Muay Thai fighters compete against each other. It’s about self-confidence, testing boundaries, the balance between strength and vulnerability – and the desire to fight. The full-contact martial art of Muay Thai combines punches, kicks, elbow and knee techniques: the whole body fights. Strategy, strength, aggression and discipline play just as important a role in training and fighting as rhythm, confidence, playfulness and composure.

Schedule:
19:00 Opening Sportfest
19:30 Fight Night
21:30 Party with DJ Baby

The time has come: Missy Magazine’s legendary Pissy podcast is leaving the studio and heading out into the fresh air – or rather, onto the pitch! We’re celebrating a premiere at the Ballhaus Ost sports festival: Pissy live and in motion.

Host Ulla Heinrich welcomes sports mice Luna Afra Evans and Philicia Kraatz for a deep dive on queer perspectives on sport, fitness and body politics. Together, they take a critical and empowering look at movement practices beyond the mainstream. What does sport mean from a queer and feminist perspective? What role patterns resonate in the aesthetics of gym core – and how can they be subversively reinterpreted?

From abs-legs-bums to powerlifting, from drag workouts to sporting icons of queer pop culture: the discussion will focus on the pleasure of movement, body norms, community spirit and the very personal sore muscles of emancipation. All three interviewees are gym rats from a wide variety of backgrounds – between performance, practice and politics.

Come along, listen, get involved – and celebrate the first live recording of Pissy with us! 🎤💪🏽🏳️‍🌈

DYKE PING – HOMO PONG!At the Sportfest – Tournament Edition of Queer Ping Pong, the table becomes a playing field for exchange, attitude and queer joy. The focus is on a FLINTA*-focused tournament that combines sporting ambition with collective lightness. Under the motto My opponents are an inspiration, dykes, allies and communities will come together for an afternoon full of movement, encounters and beats (13:00 T**lin, 15:00 SXCL). 13:00-17:00 Tournament17:00-19:00 Open Play Register in advance via queerpingpong@gmail.com Queer Ping Pong brings club culture to the plate in daylight – accessible, participatory, low-threshold and fun. With spin or without – come to play, watch, cheer or just be together. Take your rackets with you. There are also rackets available on site – anyone can join in. DJ SXCL is a versatile musician from Reunion Island. Producer and disc jockey since 2017, they have been morphing their style with time to fit their eclectic taste. Going from house to progressive trance, to electro and more recently to old-school techno. T**lin is a queer feminist, human rights activist and passionate sound lover. Queeriental is her label for DJ sets and performances between oriental beats and Middle Eastern sounds, in several languages.