Freies Theater – Teil 3

Premiere Performance-reihe | Teil 3

 
/ME FOLLOWED BY AN ACTION

Sa 23.06.2018 + So 24.06.2018 | 16 – 22 Uhr | Bar/Kasse 15:30

 Cornelius Puschke 

/me followed by an action untersucht die Möglichkeiten und Potenziale eines handelnden Publikums in digitalen Räumen. Mit sechs Beiträgen verschiedener Künstler*innen entsteht ein temporäres Archiv digitaler Handlungen, dessen virtuelle Türen man durch einen Messenger öffnet.

_DE

Vor ca. 15-20 Jahren mehrten sich in den performativen Künsten Arbeiten, die das Publikum direkt adressierten und es zu (kritischen) Handlungen einluden. Man wurde involviert in das künstlerische Werk, das Geschehen bezog das Publikum unmittelbar mit ein. Die Möglichkeit des Einsatzes neuer Technologien – Kameras, Handys, MP3-Playern, Tablets oder Radios – ermöglichte neue Formen der Kommunikation, Begegnung und Interaktion. Diese Entwicklung war eine Verheißung: Die Theater öffneten ihre Türen und Künstler*innen entdeckten außerhalb der Black Boxes und White Cubes ungeahnte Aktionsräume.

Für „/me followed by an action“ fragte Cornelius Puschke mehrere Künstler*innen diese Möglichkeiten der Handlung unter Hinzuziehung aktueller Technologien neu zu untersuchen. Der Titel referiert dabei auf erste Chat-Programme (IRC-Clients), in denen man individuelle Handlungen durch den schriftlichen Befehl „/me“ anzeigen lassen kann. Die Eingabe /me drinks tea liest sich für andere Chat-Teilnehmer*innen als Cornelius drinks tea.

Diese Eingabe ermöglicht die virtuelle Verbindung von analogem Handeln in einer digitalen Öffentlichkeit – ohne Anspruch auf Wahrheit oder Überprüfbarkeit. „/me followed by an action“ beschreibt diesen Moment. Die Frage nach Potenzial und Verantwortung von Handlungen in digitalen Räumen in Zeiten von Hacking, Shitstorms und Smart Homes untersucht „/me followed by an action“ mit sechs künstlerischen Beiträgen.

Initiiert von Cornelius Puschke

Conférencier Marcus Reinhardt | Operator Sophia Bobic | Stella Schimmele | Irene Wildberger Mit Beiträgen von !Mediengruppe Bitnik | Annika Kahrs | doublelucky productions (Chris Kondek + Christiane Kühl) | Ligna | Matthias Meppelink | Philip Widmann | Raum: primavera*maas

Künstlerische Mitarbeit: Stella Schimmele

5. Teil: Sa. 10.11. | 20 Uhr | So. 11.11.2018

Say bye & dream on

Nadine Vollmer & Rima Najdi

4. Teil: Fr. 26.10 und Sa. 27.10

‘feels like haven‘ * irgendwas mit liebe

Von und mit Annett Hardegen, Marcus Reinhard, Malte Scholz und primavera*maas, Federico Neri, Martina Neu.

2. Teil: Vorstellung: 19. Mai 2018 | Kritikgespräch: 20.Mai 2018

Erstes Showing

Von und mit: Manuel Gerst, Sebastian König, Matthias Meppelink, Boris Nikitin.

1. Teil:  3.-5. Mai 2018, 20 Uhr

Das Versprechen / The Promise

Mit und von Dirk Cieslak, Ben Päffgen und Noa Carvajal.

ECHOS

Premiere

 
Echos

Dessa Ganda & Cajsa Godée

Di. 19. Juni 2018

 

“When I was 6 I thought I was, in some way, a lady bug. Because I had no laughter. No sound came out when I laughed. It bothered me a lot because I didn’t really want to be a lady bug.”

 

 

Outside of our bodies: densification of borders, construction of walls.

Inside of our bodies: is it possible to construct and mutate these principles?

We explore our voices as raw material to shape and mould worlds with.

With this material we improvise and make music and tell stories and create loops.

Through rhythmical materials we form, transform and perform

 

Performers: Dessa Ganda & Cajsa Godée

Language: English

 

Mit Unterstützung durch die Vierte Welt

Bingo Palestine

Game | Performance 

 

Bingo Palestine

Netta Weiser

Do 14. Juni 2018

_EN

“Bingo Palestine” is a nomadic game/performance enacted in various cities and contexts, aiming to unfold new arenas encountering our relation to the Israeli/Palestinian territory.  The game revolves around a map of Palestine drawn by the British Mandate prior to the war of 1948. During the event this map is transformed into playing boards, the participants reorganize the space, share fake memories and navigate through imaginary landscapes.

By gathering as players, ad hoc cartographers or misusers of the map, we will engage in different interactions with the space and the historical moment it embodies, while inventing  new trajectories between what can be said, imagined or done in relation to it. The gaps between our knowledge and colonial fantasies, between the map and the territory, between speech and the body, are our spaces of action.

We need new games!

Concept and Performance: Netta Weiser

Language: English

With support from “The Israel Lottery Council for Culture & Art “

Netta Weiser is a performer, choreographer and performance maker based in Berlin. In her artistic work she explores how performance art can play a critical role in the production of common experiences, new interactions and different kinds of knowledge in relation to political narratives and historical events. She holds a BSc in Neuro Sciences from Tel-Aviv University, and currently is a graduate student in the Interdisciplinary Program in the Arts, Tel-Aviv University. Her artistic education includes studies at “The School of Visual Theater” in Jerusalem and at the “Maslool” training program for professional dancers, Tel-Aviv. An interdisciplinary artist, Netta collaborates with composers, visual artist, theater directors and video artist. Her works have been presented in galleries and performing arts festivals in Europe and Israel such as Solo festival (Tel aviv 2017) Anti-disciplinary festival (Geneva 2016), Grec festival (Barcalona 2015) among others.

www.nettaweiser.com

The Garden Of The Hesperides

Soundinstallation

 
The Garden Of The Hesperides

How Does the Smell of Oranges Sound?

Gretchen Blegen | Christina Ertl-Shirley

Sa  9. Juni + So  10. Juni

Symbolik und Geschichten rund um Orangerien übersetzen sich in eine Phänomologie des Klanges in der sich Natur, Architektur und Kunst verschränken.

“The Garden of Hesperides” is a sound installation addressing the entanglement of cultural narratives, architecture and nature through the contextual relations and symbolic histories of Orangeries.

“The Garden of Hesperides” setzt sich klangphänomenologisch mit der inszenierten Verschränkung von Natur, Architektur und Kunst am Beispiel der symbolischen Zusammenhänge und Geschichten rund um Orangerien auseinander. 

 

Charakteristische Elemente und Materialien inspiriert von der Orangeriekultur – von deren Beginn, über das goldene Zeitalter bis heute – fungieren als Resonanzkörper und Klangflächen, während in Klangcollagen Eindrücke rund um koloniale und kulturelle Geschichte(n) und Visionen über Orangerien dargestellt werden.

 

Gretchen Blegen arbeitet als interdisziplinäre Künstlerin mit einem Interesse an Klang, Text und Räumlichkeit.  In ihrer kollaborativen Arbeit versteht sie das Licht und dessen Materialität als wichtigen Bestandteil einer räumlichen Erfahrung, die sich gleichzeitig mit Klang, Bewegung und Architektur des Raumes auseinandersetzt.

 

Christina Ertl-Shirley realisiert Radiostücke, Klanginstallationen und Kompositionen in denen experimenteller Klang und Storytelling in einen produktiven Dialog treten.

 

 

Seit einer gemeinsamen Residenz im Februar 2015 in Porto beschäftigen sie sich laufend unter dem Projektnamen „How Does The Smell Of Oranges Sound Like?“ mit Themen und Phänomenen rund um Orangen.

 

“The Garden of Hesperides” is a sound installation addressing the entanglement of cultural narratives, architecture and nature through the contextual relations and symbolic histories of Orangeries.  Characteristic elements and materials from the their beginning, through the “Golden Age of Orangeries,” up until the present day will be interpreted as acoustic sources and surfaces with resonance. 

Corresponding to this, investigated versions of the Orangery’s cultural and colonial history as well as their imagined self are to be presented as sound collages, as listening stations in the Vierte Welt.

 

 

Gretchen Blegen works as an interdisciplinary artist with an interest in sound, text and space.  A focus of her collaborative works is the transmission of an experience through light. She understands light as a means to substantiate a space – accentuating it’s sound, motion and structure.

 

Christina Ertl-Shirley creates radio pieces, sound installations and compositions. Through these mediums she integrates sound and storytelling into a dialog.

Since a residency in Februar 2015 in Porto they continually work together under the project name „How Does The Smell Of Oranges Sound Like?“ – a project addressing thematics and phenomena relation to oranges.  

 

 

Mit freundlicher Unterstützung der Initiative Neue Musik e.V.

 

Dank an:  

Julia Buckley von Royal Botanic Gardens bei KEW in Surrey |

Dr. Claudia Gröschel HBLFA für Gartenbau Schönbrunn und Bundesgärten Österreich

Heimo Karner | Zitrusgärtner Schönbrunn

Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg

Johannes Maas

 

The Garden of Hesperides (Residenzdokumentation)

Line Up

Research | Presentation

 

Line Up

Lee Méir

Sa 02. Juni 2018

_EN

The solo Line Up explores the passage of time as a surface of intensity rather than a linear developmental process. It is an endeavour into the physicality of this specific temporality, through zooming into the immediacy and urgency of a single moment of fierce action in time. Taking further her long term research of speech and gestural movement, and juxtaposing it with her current research of sound objects and the body as a carrier of sound, Méir constructs a framework / mindset for her to move in. In this set she excessively (dis)organises space & time, letting the body appear in its bare state of movement, between control and the continues loss of it, as the boundaries between functional and abstract are blurred. Basing her artistic research on the close dialogue with Marcus Steinweg (philosopher) and Moritz Gagern (composer), Méir puts her dancing body inside of philosophical notions and musical principles, which they explore together. In the research presentation they will present the work done so far, as well as their working method and the questions that arise throughout the working process.

Performance, Choreography & Concept: Lee Méir

Musical Dialogue & Sound: Moritz Gagern

Philosophic Dialogue & Input: Marcus Steinweg

Dramaturgical Assistance: Julia Rodríguez

Voice Training: André Lewski

Light: Gretchen Blegen

Stage & Construction Assistance: Johannes Maas

Production: Annett Hardegen

Language: English

The piece will premiere on the 3rd + 4th of August, in the frame of Ausufern, Uferstudios Berlin.

Further Performances: 3rd + 4th of Setember, in the frame of Ausufern, Uferstudios Berlin.

A production by Lee Méir in collaboration with Vierte Welt and Ausufern

Funded by the Capital Cultural Fonds (Haupstadtkulturfonds) and Life Long Burning

Lee Méir, b. 1984, is a choreographer and performer working between Berlin and Tel-Aviv. Her work examines states of paradox and explores the tension(s) between language, movement and meaning production. Her works are presented internationally in platforms such as: Tanz im August Berlin, Brighton Festival, Volksbühne Berlin, Tanzquartier Vienna, a.o. In 2013 she completed choreography studies at HZT- Inter University Centre for Dance, Berlin. She oscillates between working as a solo artist and working in collaborative formats, seeing it as a way to destabilise ideas and put political and collective identities into question. Her recent works include: Across the Middle, Past the East, an Unsettled Cabaret created by a collective of middle eastern female artists and performed at Sophiensaele theatre in Berlin, and fourteen functional failures, a series of short solos she performed in various over and underground events in Berlin, Bucharest, Tel-Aviv, and Vienna.

Marcus Steinweg, b. 1971, lives and works as a philosopher in Berlin. He was a visiting professor at HfBK Hamburg, teaches at the Berlin University of the Arts and is currently Deputy Professor at the Academy of Arts in Karlsruhe. His most recent publications include: “Behauptungsphilosophie” (Berlin: Merve 2006), “Duras” (with Rosemarie Trockel, Berlin: Merve 2008), “Politik des Subjekts“ (Zürich/Berlin: Diaphanes 2009),”Aporien der Liebe” ( Berlin: Merve 2010), “Art and Philosophy” (Cologne: Walter König: 2012), “Philosophie der Überstürzung” (Berlin: Merve 2013), “Inconsistencies” (Berlin: Matthes & Seitz 2015), “Evidenzterror “(Berlin: Matthes & Seitz 2015),” Gramsci Theater “(Berlin: Merve 2016) and” Splitter “(Berlin: Matthes & Seitz 2017) The English version of some of his books has been published by The MIT Press in 2017.

Moritz Gagern, b. 1973, is a freelance composer living since 1995 in Berlin. His concert works are performed at festivals such as MaerzMusik Berlin, TonLagen Dresden, Festspielhaus HellerauHeidelberger Frühling, Taipei Arts Festival. Interdisciplinary cooperations connect him with choreographers and directors in the independent scene of Berlin, at the Ilkhom Theater in Tashkent, Uzbekistan, or at the Munich Opera Festival. As a composer for the theater he was at the Residenztheater Munich, at the Schauspielhaus Bochum, at the Schauspielhaus Dresden, at the Deutsches Theater Berlin, at the Volksbühne Berlin, at the Ballhaus Naunyn and the Sophiensaele in Berlin, at the Neuköllner Oper Berlin, at the Theater der Jugend, Schauburg , Munich and at the Ruhrtriennale. In addition, Moritz Gagern occasionally works as author and dramaturge – most recently as a production and production dramaturge of the premiere “Babylon” by Widmann / Sloterdijk at the Bavarian State Opera. In May 2017, his 80-minute composition “Nigunim for Orchestra” was premiered by the Jakobsplatz München Orchestra in the Munich Muffathalle.