Overview of Texts

An Oscillator Exchange

Performer, photographer, model, author and speaker Roland Walter was born with a lack of oxygen, causing spastic paralysis. In 2018 he proposed to choreographer Renae Shadler to develop a work together, which led to a research on the creation of a shared movement language. The duet “SKIN” premiered last Saturday 1 August 2020 at Uferstudios. 

The Human in Trans-Humanity

The first post-lockdown indoor performance at Uferstudios was the premiere of “Transhuman Hai” by Porson’s Khashoggi, 24 July 2020. This performance on the possibilities of artificial humanity fit well into Studio 1, which resembles an indoor swimming pool with the audience seated looking into the deep-end. These days, trans-humanity isn’t solely restricted to the realm […]

A PROPOSAL FOR CHANGE

Tanzfabrik’s Time to Meet: Down to Earth — a festival as an experiment —  was curated by Juan Gabriel Harcha, Elisabeth Leopold, and Felicitas Zeeden and offered a playground for artists to unlock our imaginations in the courtyard of Uferstudios. 

A Utopia Beyond the Norm and Anti-Norm

In a garish tutti frutti aesthetic, Angela Alves’ “NO LIMIT” (Zoom premiere 16 June 2020 at Sophiensæle) stages a distorted world in which the handicapped make up the normative majority and the unhandicapped suffer from syndromes like CCD (Can’t Calm Down) and KNL (Knows No Limits). The game show provides us with a lesson in […]

Back to the Classics

Event cancellations due to Covid-19 measures didn’t just affect the dance scene. How did major theaters respond during the pandemic? A brief glimpse at the Staatsballett Berlin to mark Polina Semionova’s appearance in the concert performance of Camille Saint-Saëns’ “The Carnival of the Animals” at the Staatsoper Unter den Linden.

On Bodies Communing: An Interview with Isabelle Schad

The plan was for Isabelle Schad’s trilogy “Collective Jumps“, “Pieces and Elements” and “Reflection” to be shown for the first time in one stretch at HAU Hebbel am Ufer in June. She talks with Jette Büchsenschütz about contemplation, the collective, and the power emanating from interlocking bodies – and it becomes evident how relevant her […]

Nah Dran – interconnecting the studio and the screen

NAH DRAN — ‘close by’, ‘proximate’, ‘intimate’. Attending this research series, existing through the continuous investment of ada Studio in young, Berlin-based choreographers, usually means gathering in the small studio number 7 at Uferstudios. As an audience member, you are almost close enough to touch the performers. This time, however, it’s different.  There is no physical proximity, there is only […]

Berlin isn’t a German city / Berlin ist keine deutsche Stadt

No shows, no training, no touch, no perspectives: Covid-19-measures hit the dance scene heavily. Artists and institutions are longing for solidarity – beyond their own needs.

You OK, Bitch?

The Battlefield Nurse has existed for over 5,000 years. She is a hooker, healer, sister, lover, mother, and a midwife of the dying. Together with an army of other battlefield nurses, she cares critically, by addressing the structures that make us sick. In the online performance “You OK Bitch?” choreographer Jeremy Wade’s alter ego aims to unpack […]

City Expansion — (Out)Stretching the Senses to Our Urban Surroundings

After days of being homebound, practice lab EINS from Sabine Zahn’s project “Stadterweitern (City Expansion)” gave me a chance to rediscover my senses (and with them a piece of Berlin). During the first of four five-day labs to take place in different central locations in Berlin from May to November 2020, I had the opportunity […]

Against Translation?

On the opportunities for performance art in the age of the contact ban and why the shuttering of theaters can also be seen as an opportunity. Reflections on the festival “Reclaiming the live aspect of the Performing Arts in the current times” initiated by Felix M. Ott and Diego Agulló and supported by Tanzfabrik Berlin

My Only Memory; A Choreography to Listen To

“My Only Memory”, by Juan Dominguez and performed by Joshua Rutter, premiered in 2018, and has now been transformed into an online performance for Radialsystem’s series “New Empathies”. This choreographed text is a brave attempt to create collectivity and practice empathy in times of physical distancing. 

HOW ARE YOU?

“Von hier nach dort” didn’t premiere on April 23 in fabrik Potsdam as planned. When the news came in that the show was going to be cancelled, André Lewski, Lee Méir, Robert Konderosi, Lidy Mouw, and Lea Kieffer were already in the last phase of preparing this participatory project for kids on the topic of […]

Another Kind of Kinesthetic Empathy Is Transmitted on Screen

In the times of corona, when live dance events are (still) not possible, the digital format remains. You can love it or leave it, and not everything is suitable for filming. However, there are dance films, films explicitly choreographed for the camera and the screen: available for viewing until 6 May in POOL 20 – […]

Distance Dance

The wide offer of online dance classes demonstrates how we can all stay connected to one another despite social distancing while dancing alone. On the complex interplay between closeness and distance in the time of Corona.

On Hospitality, Collaborations and Dining Culture: Questions for Sally De Kunst about the Book “This Book is Yours”

On 21 March 2020, Sally De Kunst was scheduled to present the book “This Book is Yours – Recipes for Artistic Collaboration” at the Berlin office of Vexer Publishing House with a cooking workshop. Like many things in Berlin and worldwide, this event – a collaboration with Tanzbüro Berlin – could not take place. So […]

A Different Kind of Ballet

During the rise of ballet at the beginning of the 19th century, romantic ballets were divided into two parts: a realistic one followed by a fantastic one — so Florentina Holzinger informs us during the intermezzo of the all-woman performance “TANZ” at Sophiensæle.

Aquaphile Transgression

As part of the festival OPEN SPACES – Laughing & Loving, Karol Tymiński stages an erotic intesity zone of ecstasy with “Water Sports”. One in which the borders between organic and inorganic desire are transcended.

Entanglement, Collective Action, and Art as a Vehicle for Hope.

Peter Scherrebeck Hansen, Snorre Hansen, and Katrine Staub share an open rehearsal at the end of their month at the Lause Residency for Art and Activism.

Something Resembling Magic

“Witches” by Ursina Tossi played at Ballhaus Ost on 21 and 22 February 2020. The work sets out to interrogate the historical figure of the witch, doing so in surprising and often uncomfortable ways.

T.E.N.T. PALACE MINI-MEGA FESTIVAL©T.E.N.T. Collective copy

Don’t Wait

Out of the four days of the T.E.N.T. PALACE MINI-MEGA FESTIVAL (DOCK 11, 20 – 23 February, 2020) Inky Lee attends two evenings and relates on the ways T.E.N.T. ‘host dreams, desires, and basic necessities.’

Hello Death

Enis Turan glamorously stages his own death in “Club27”, a co-production with HAU Hebbel am Ufer.

Satirical dances

In their latest show “Endangered Species”, performed at Sophiensæle as part of Tanztage Berlin 2020, drag house for QTBIPoC House Of Living Colors explore how not only text, but also dance can be instrumentalised as political satire.

Long Black Hair

Inky Lee embarks on a hairy journey, inspired by Areli Moran’s “La Postal de nuestra Existencia,” in which Moran becomes the goddess of ‘Hair, hair, long beautiful hair!’ “La Postal de nuestra Existencia” premiered at the Sophiensæle on 16 January 2020 within the frame of Tanztage Berlin.*

Expelling Oppression with a Loving Thrust.

“JUCK” — something between a celebratory techno-ritual, trauma release therapy, and a total exorcism of patriarchy — is more than a powerful, and finely tuned performance. The work, which featured at Tanztage Berlin 2020, is a survival strategy to ensure community and joy in the face of oppressive systems.

Berlin-Cool

“Sarabande” by Sasha Amaya, and “Tricks for Gold (T4$)” by Frida Giulia Franceschini premiered at the Sophiensæle on 8 January in the frame of Tanztage Berlin 2020.

An Elegant and Generous Denial.

“Neptune”, a 45-minute solo by Lois Alexander in collaboration with Nina Kay, premiered on 8 January 2020 at Sophiensæle in the framework of Tanztage Berlin. 

Hands

Four deaf performers, Steve Stymest, Jan Kress, Rita Mazza, and Athina Lange, create a musical, “Vier”, using the richness and diversity of German Sign Language and Visual Vernacular to access music from a different angle. “Vier – A Visual Musical in Sign Language” premiered 17 December 2019 at Sophiensæle.

High on Entertainment, Low on Criticality.

“Hillbrowfication”, by DorkyPark’s Constanza Macras and performed at the Maxim Gorki Theater, is a colourful of explosion of choral beauty that leaves the audience uplifted by optimistic energy, yet leaves behind unanswered questions, and, at least for myself, an array of mixed emotions.

Sustenance, Resistance, Self-Reclamation

Upstairs in the gallery of Ballhaus Naunynstrasse, Colombian performer and choreographer, Jao Moon, manages to permeate through identities, boundaries, memories and aesthetics in his solo “Memory of Dislocation – Exactly the Same in the Opposite Direction”, showing from 7 – 10 December.

Breathing Space

In the month of November 2019, Lake Studios Berlin offered “Double Bill Residency” to support the creation and the presentation of works by Grace Euna Kim – “Dance Party (the apocalypse is disappointing)” – and Agnė Auželytė & Stephen Doyle – “Undone (a breath score)”. The works premiered on the 6th December at Lake Studios Berlin.

Hyphenated Identities

With “Dance workshop Afrotrap” and the performance “Un truc d’ouf” hosted at Ballhaus Ost, performance collective La Fleur asks questions about the mixed identities of Europeans of African descent.

Ashes to Ashes

As a part of the NO LIMITS Disability & Performing Arts Festival, “Ashed”, performed by Unmute Dance Company at HAU2, takes its inspiration from the petrified figures discovered in the volcanic ash of Pompeii. 

What the Body Remembers

In “Fan de Ellas”, premiering at Sophiensæle, Catalina Fernández, Juliana Piquero, and Alex Viteri dialogue with ‘three Latin American heroines’ through movement, soundscape, and objects.

Voices in the Dark

“Blind Date”, premiere Friday 1 November in the framework of OPEN SPACES at Tanzfabrik, is collectively authored and performed by Ayşe Orhon, Christina Ciupke, Clément Layes, Igor Dobriči, Jasna L. Vinovrški, and Litó Walkey.

Unfinished, Together – An Evening at Lake Studios

Once a month, the dance research and residence centre Lake Studios hosts “Unfinished Fridays”, an open studio providing an opportunity for residents and other invited guests to share their works-in-progress, followed by a facilitated feedback session with the audience.

The Golden Creature

In “Melancholía,” a co-production by HAU Hebbel am Ufer, Josep Caballero García / Queerpraxis create a sensual world of play where gender and ethnic identities are obscured.

Choreographic Processes, Not Products

At the close of the three-month AUSUFERN festival in Uferstudios in Wedding, the adjoining Heizhaus was inaugurated with a 25-hour performance series. It is set to become a space for process-oriented artistic encounters involving urban society.

A Complex Chorus of Voices

“STRICKEN” (“KNITTING”), 4 – 7 October at Ballhaus Naunynstrasse, by Magda Korsinsky attempts to unpack the complex relations between a black girl and her white grandmother and explores the ways in which racial and political issues manifest in the intimate relationships between family.

The Choice to Fail

As the final installment of Natal Igor Dobkin’s workshop “My worst performance ever – A Queer Performance Workshop”, part of the Hibernation Party at Raumerweiterungshalle 5 – 6 October, four participants share their works.

Foto von "Amateur family dancing in experimental dance piece (the original!)", Casja Godée ©Nicola van Straaten

Graduation Shows: BA in Dance, Context and Choreography

From 21 to 28 September 2019 nine graduate students from the Dance, Context, Choreography BA programme at HZT, the Inter-University Centre for Dance Berlin, are showing their graduation works. They offer a glimpse not only into their own projects, but also into this rather special programme. 

Bild von "Inflammations", Ania Nowak © Dorothea Tuch

A Witty Resistance to Pathologization

In her new piece “Inflammations” at the Sophiensæle, Polish choreographer Ania Nowak, who lives in Berlin, presents an absurd classification of bodily phenomena in which she relies more on the effect of the spoken word than on the body’s own experiences.

Bild aus "objects", Tanzstück von Nadja Raszewski

Floating in the Universe

Under the direction of Nadja Raszewski, “objects” at TanzTangente turns viewers into part of a puzzling interactive trip to spaces where natural and manmade systems clash.

say-my-name-say-my-name_Olivia Hyunsin Kim_©peter-van-heesen

No Names, Just Numbers

In “Say My Name, Say My Name”, by Olivia Hyunsin Kim / ddanddarakim and premiering at the Sophiensaele, an immersive world of futuristic designs is created through which Kim attempts to hold a mirror up to the past. 

“Retrospective”, Xavier Le Roy (2014, MoMA New York) © Matthew Septimus

How the Body Remembers – The Archive, the Canon, and Other Impossible Questions.

The event series “What the Body Remembers: Dance Heritage Today” (24th August – 21st September, 2019) hosted by the Akademie der Künste and other partners offers four weeks of performances and lectures, including an exhibition, a campus, and a publication all dedicated to the history and heritage of contemporary dance today.

"Auf meinen Schultern", Raphael Hillebrand © Zé de Paiva

Where Are You From?

In Auf meinen Schultern, premiering at Ballhaus Naunynstrasse, Raphael Hillebrand shares the story of how he navigated his brutal exclusion from society through spoken word, dance, sound, and video. 

Tanz im August Review: Happy Island

In this review Beatrix Joyce is talking to David Pallant about the piece “Happy Island” by La Ribot.

"#PUNK 100% POP N!GGA", Nora Chipaumire

Tanz im August Review: #PUNK 100% POP *N!GGA

Alex Hennig inquires Beatrix Joyce about her impressions of Nora Chipaumire´s intense three-hour performance “PUNK 100% POP *N!GGA” at Sophiensæle.

Tanz im August Review: Liebestod

The tanzschreiber authors Beatrix Joyce and David Pallant analyze the emotional piece “Liebestod” by deufert&plischke in this chat review.

Tanz im August Interview Series: Claire Vivianne Sobottke

In her new solo “Velvet”, with music by Tian Rotteveel, Claire Vivianne Sobottke shape shifts from woman into animal. Immersed in a set composed of soil, plants and self-playing drums, she uncovers the primal forces of female sexuality.

Tanz im August Review: ten

In this Tanz im August Review David and Alex talk about the simplicity in the complexity in Deborah Hay’s piece “ten” at Radialsystem.

Tanz im August Review: WO CO

Alex Hennig and David Pallant talk about the unique relationship to time in Kaori Seki’s piece “WO CO” at HAU2.

Tanz im August Review: White Dog

In their newest chat review the tanzschreiber authors write about the symbolic and political aspects in “White Dog” by Latifa Laâbissi.

Tanz im August Review: Hard To Be Soft – A Belfast Prayer

In this chat review the tanzschreiber authors David and Beatrix talk about the intense performance “Hard to be Soft” by Oona Doherty.

Tanz im August Interview Series: Gunilla Heilborn

The wonderful moves the memory more than the ordinary. This sentence, originally the title of the piece “The Wonderful and the Ordinary”, moved choreographer Gunilla Heilborn to create a trilogy on the wonders, and burdens, of memory.

Tanz im August Review: Piece for Person and Ghettoblaster

In their first review the tanzschreiber authors Beatrix Joyce and Alexandra Hennig chat about Nicola Gunn´s performance. A report about humour, ducks and throwing stones.

Piece for Person and Ghettoblaster, Nicola Gunn

Tanz im August Interview Series: Nicola Gunn

A confrontation with a man cruelly throwing stones at a duck was the catalyst for Nicola Gunn’s solo work “Piece for Person and Ghetto Blaster”. That encounter — and the misunderstandings inherent in it — inspired a piece in which communication, and miscommunication, take centre stage.