What happens when all your adolescent heroes are cancelled? All the Heroes Are Cancelled is a show about gender performance, authenticity and the way we navigate building our public and private personas.
These five guests turn a common and civilized conversation into the most unsuccessful debate in history.
It is a moment of excitement, fear, anxiety and physical effort, a moment guided by our non-rational knowledge and deepest desires, our anger and our erotica.
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Is it possible to live as a brown gay man in Germany and find healing while carrying the weight of oppression from his motherland? Set in a speed-dating event, will Kumar’s leading man, Krishna, win the role he wants in this audition for love?
Through the lens of his experience as a Tamil-Malaysian queer person living in Berlin, Kumar Muniandy is developing a theater piece that investigates the connections between internalized homophobia that stems from anti-homosexuality laws of the colonial era and the structural racism he experiences.
What are the consequences of such merciless neocolonialism for the mental health of queer minorities living in Germany today? After all, Krishna, like Kumar, is on a pursuit of forgiveness and self acceptance.
Second Class Queer is dedicated to Nhaveen.
Loosely based on Samuel Beckett´s Waiting for Godot and inspired by the deep frustrations experienced in the time of the pandemic, BIYT presents an investigation into the perplexing questions that will just not go away.
You know the story, two friends wait endlessly for something. They try to do things right. They really do. But it´s just taking too darn long and soon trouble arrives offering a welcome distraction. We have all been there…
Now Anali is in Berlin and wants to celebrate spring but can’t because the world stinks. She doesn’t have any money, there are shitty images on the streets and shitty songs in her head. The shit is hitting the fan on a daily basis. In between one shit storm and the next, Anali wants to get some fresh mountain air and is planning her trip to Dreckloch in the Alps. But before she can do that, she has to get her shit together and earn some cash to pay off her debts in the neighborhood like the good old days before individual toilet stalls were invented.
You can look forward to an evening full of real old shit watching some really shitty performers give their all and do what they like doing most…while wearing some shitty costumes with some shitty lighting and a shitty host.
“This is part of my ongoing artistic research on developing performance strategies to decolonize my body and its representation as an Asian person within the European hegemony. In S.O.A.R. Queen, I turn my research focus on my queer Asian body. Western queer culture and theory are overwhelmingly used as the point of reference in mainstream discourse and understanding of queerness, whitewashing the queer expressions of other cultures. I see this as a form of cultural colonization. As an expansionist project, colonialism is as much about occupying foreign territories, as it is about appropriating culturally-othered bodies and erasing their cultural contexts, histories and knowledge.
In this research, my aim is to develop performance strategies to decolonize queerness through the use of drag as a tool to challenge and de-center the hegemonic west-centric notion of queerness, as well as, disrupt the heteropatriarchal norms in Chinese culture. The task is to construct conceptual prototypes for a decolonial and anti-patriarchal drag, which takes its central reference from the male-to-female impersonation in Chinese opera called Nan Dan (男旦).
S.O.A.R. Queen is supported by the Berliner Förderprogramm Künstlerische Forschung (2022-23). Over a period of 2 years, I work with the 3 archetypal female roles that are most celebrated in Chinese opera: 1) the warrior, 2) the lover and 3) the concubine. This first phase of the research is dedicated to the female warrior: Mulan (花木兰).”
– Ming Poon
Followed by a post-performance discussion
Following the complicated lure of genealogy, Stolowitz goes back to Berlin to bring the story of her unknown ancestors out of the archives into the light. The record keeps as many secrets as it shares; how do people become verschollen, lost, like library books?
A limited number of free tickets have been reserved for student groups and their teachers. Please register as soon as possible by email at tickets@etberlin.de
Complete funding for this production has been generously provided by the U.S. Embassy in Berlin.
Andrea Stolowitz is a German/American playwright currently living and working in Cork, Ireland. Her work embraces bold theatricality ranging from intimate portrayals of the human condition to the intersection of national history on private lives. Andrea is a member of New Dramatists class of 2026, an alumna of The Playwrights’ Center, and a collaborating writer with the internationally lauded devised theater company Hand2Mouth Theatre. Andrea is the Lacroute Playwright-in-Residence at Artists Repertory Theater. Andrea has taught at Duke University, NYU, UC-San Diego, Willamette University and NUI-Galway.
In the meantime, we’ve spent hours and hours at home; working for money, working out, working out our social lives, working without being paid for it, working on better sleep. How has this time changed our ideas of home? What do we need in order to feel at home? What else can be a home apart from the physical space we live in? And what happens when three performers finally come back to a space they haven’t been to in a while – a theater?
During the residency at ETB | IPAC, Rule of Three Collective will re-embark on an open journey towards notions of home and share some of the findings at the end of the week. Join us back home!
Followed by a post-performance discussion