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2020 Expo Info Abend and Artists Mixer

Calling all Berlin-based performing artists! We’re holding an information night and artists’ mixer for our annual festival! Come by on Wednesday, October 30 beginning at 7pm to meet potential collaborators, see our space and find out everything you need to know to apply to have your work included in the festival! Over the past seven years, numerous Expo productions have been created as a result of artists meeting at the festival’s Info Abend and deciding to make new work together.

Since 2013, this annual festival has presented selected performances from the diverse yet often still undiscovered international independent performing arts community of Berlin with a working language of English. Over six evenings featuring one or two evening-length performances, the festival presents a cross section of this community across all performing arts genres and beyond all language barriers. Within ExpLoRE, the newcomer’s platform, the Sunday afternoon is open to smaller formats or work still under development.

The 2020 schedule of programming will be curated by festival founder Daniel Brunet, Producing Artistic Director of English Theatre Berlin | International Performing Arts Center, as well as choreographer Olivia Hyunsin Kim and theater director Shlomo Lieberman, from the applications received based on the criteria of artistic excellence, internationalism and creative diversity.

The festival accepts proposals both for world premieres as well as restaging of existing productions and provides financial and dramaturgical support. Over the past seven years, numerous Expo productions have been created as a result of artists meeting at the festival’s Info Abend and deciding to make new work together.

The 2020 edition of the festival will be held from April 19 – April 25, 2020.

This year, we’re looking to showcase one or two professional productions by Berlin-based artists each evening from Monday, April 20 through Saturday, April 25. Works should be between approximately 45 and 105 minutes in length.

We can also consider shorter works for performance  during the day on April 19, 2020.

Learn more about the festival and see the lineup from last year right HERE!

Applications for the 2020 Expo are due by midnight on November 30, 2019 and the complete lineup will be announced on or about January 5, 2020.

2019 Expo Info Abend and Artists Mixer

Calling all Berlin-based performing artists! We’re holding an information night and artists’ mixer for our annual festival! Come by on Tuesday, October 30 beginning at 7pm to meet potential collaborators, see our space and find out everything you need to know to apply to have your work included in the festival! Over the past six years, numerous Expo productions have been created as a result of artists meeting at the festival’s Info Abend and deciding to make new work together.

Since 2013, this annual festival has presented selected performances from the diverse yet often still undiscovered international independent performing arts community of Berlin with a working language of English. Over six evenings featuring one or two evening-length performances, the festival presents a cross section of this community across all performing arts genres and beyond all language barriers. Within ExpLoRE, the newcomer’s platform, the Sunday afternoon is open to smaller formats or work still under development — these will be performed on two separate stages.

The 2019 schedule of programming will be curated by festival founder Daniel Brunet, Producing Artistic Director of English Theatre Berlin | International Performing Arts Center, as well as choreographer Olivia Hyunsin Kim and theater director Shlomo Lieberman, from the applications received based on the criteria of artistic excellence, internationalism and creative diversity.

The festival accepts proposals both for world premieres as well as restaging of existing productions and provides financial and dramaturgical support. Over the past six years, numerous Expo productions have been created as a result of artists meeting at the festival’s Info Abend and deciding to make new work together.

The 2019 edition of the festival will be held from April 28 – May 4, 2019.

This year, we’re looking to showcase one or two professional productions by Berlin-based artists each evening from Monday, April 29 through Saturday, May 4. Works should be between approximately 45 and 105 minutes in length.

We can also consider shorter works for performance on two separate stages during the day on May 4, 2019.

Learn more about the festival and see the lineup from last year right HERE!

Applications for the 2019 Expo are due by midnight on November 30, 2018 and the complete lineup will be announced on or about January 5, 2019.

STAR CAPTAIN: THROUGH THE DARK YOU’LL FIND THE LIGHT

A theatrical concert performance by Miss Natasha Enquist, Electro-Accordion Chanteuse

Put your suit of glamour on, this ride is a bumpy one… this journey of self-discovery follows our dear adventure-hungry Star Captain, who leaves her home planet to discover a new world and the struggles she faces while there.

Using multimedia and the songs from Miss Natasha Enquist’s debut album, MNE, this story is played out before you with the help of her mighty accordion and projected visuals for you to experience all that comes from connecting to the indomitable spirit within.

2018 EXP(L)O(RE)

A JOURNEY OF DISCOVERY
This format opens the festival and is dedicated to newcomers, shorter performances and work-in-progress. Spend an entire afternoon taking in seven different performances. In between the performances, you can enjoy fantastic food, luxurious libations and magnificent music by international, Berlin-based musicians. Performances start at 2pm and we open our doors at 1pm.

 

BRUNCH LADY by Katie-Rose Spence (Australia), Costume Design by Rachel Nielson (USA)

An interactive solo clown act pondering (whilst sipping a mimosa) the pressures of keeping up appearances.

“Forgoing avo on toast for brunch once a week and you’ll save for your deposit in … 175 years! …. “ Brigid Delaney.

We parade about with delusions of grandeur, in a climate where we are willing to overlook the cost, both personal and societal, for the appearance of having everything now. It’s official, brunch has been condemned as an extravagant excess, but here we are happily munching away our hangover on Sunday morning anyway, unable to afford our lives, but content in our denial.
Until today.
Brunch Lady will ensure your late morning meal will never be quite the same again…pray it wasn’t you who ordered the avocado on toast.

 

DANCING WITH THE SHADOWS by Julia Vandehof (Austria), Niall Fallon (UK), Ainhoa Hevia Uria (Spain), Angharrad Matthews (UK) and Berta del Ben (Italy)

The performance is a descent into the realm of mythical ghosts and phantoms inspired by the story of Persephone. The unexplored shadows hidden within this narrative are shown through non-linear storytelling.

The audience will be taken into the House of Hades with Persephone, the Queen of the Dead. The story alludes to the cyclical nature of life-death and to resurrection, and to question what it means to embrace death-in-life. It is a deeply atmospheric world encountered through movement, sound and light.

 

 

 

GRUESOME MANIFESTO by Cher Nobyl/Catalin Jugravu (Romania), with Andrei Raicu (Romania), Syrtha (Lithuania) and Yasmin Keany (Australia)

An alternative drag performance conceived as a spiritual leap into the metaphysical space where subjects such as a dystopian existence, the present time and the ratio of cause to effect in wars worldwide are molded through spoken word, dance and video projection into arguments which favor the total nuclear destruction of humanity as Salvation.

It’s total demagogy disguised in holy garments under the shape of none other than Cher Nobyl, The High Priestess of our Atomic Rebirth

 

 

 

INTEGRATE ‘ER by Iva Topolovec (Croatia) and Salber Williams (Portugal/Zimbabwe)

Two women. A bonfire of baggage. This performance is a broken experiment of identity and compromise. Using bodies and household items, we reach for ways to integ- …scratch that. What is integration, anyway?

 

 

 

 

 

THE HEARING TEST by Shanti Suki Osman (UK/Germany)


This is an interactive sound performance which asks the audience to scrutinize habits in their auditory perception.

Upon entering the room they hear a continuous set of instructions prompting them to interact with the objects in the room: choose an object that best describes my voice; write a postcard to a person who would like this sound.

Playing with the ideas of privilege, prejudice and positioning, this piece is very simple in its demand for a critical ear to be turned towards ourselves, in the hope to excavate what lies behind our tendencies and tastes.

 

 

 

THE LIVING AND OUR GHOSTS by Noirphiles/Adrian Marie Blount (USA)

Film, music, song and dance are used to bear witness to the marginalization of LGBTQIA people of color. How can we be witnesses for the marginalized?

How do the ancestors guide us to become witnesses? What can be learned in listening to those who exist within the margins of the past present and future?

This piece holds space for those spaces of uncertainty, ugly, undefined and intangible.

 

 

 

 

 

 

WE CAN DO IT MOANING by ABA NAIA Collective, directed by Kysy Fischer (Brazil), performed by Rafuska Marks (Brazil) and Teija Vaittinen (Finland)

 This is a performance of breathing and sound.

Different actions of moaning are created by three women for a construction of a human moan-machine, a text, a dialog or a song. But we are specific: we produce a symphony of moaning.

We treat the moan as a matter. As physics. As anthropology. Not as biology. We moan as a sport. We moan as an acoustic experience. We moan in hysteria. Hysteria?

We moan because someone has commanded us to moan. We moan because we can. We moan because it is ABSOLUTELY NECESSARY. We moan because it moves us and we keep moving just because we moan.

 

 

 

Skin Deep in Zaraniya

A participatory performance with live soundscape

An international ensemble enact performative tasks in a live soundscape bringing participants into a deeper understanding of the immigrant phenomenon and the universal human impact of sound and movement.

In this age of immigration anxiety, cross the threshold to the unexplored land of Zaraniya, immersing yourself in an interactive transformative music, movement and theater encounter rousing you from the sleep of the familiar.

Menu

On the Menu

a dance that eases our guilt

a navel-gazing friendship portrait

a creamy dreamy crowd-pleaser

or nothing.

And although we enjoy some options more than others, we make you choose, and then at least we feel better about the whole thing.

Ethan Folk and Ty Wardwell are art partners based in Berlin. They make experimental performances and films which probe masculinity, queerness and privilege.

Landscapes of My Inner Diaspora

Fantasy and memory are combined in the attempt to define one’s own identity, or, more fittingly, the attempt to create it…

This performance uses music, text, movement and visuals to externalize the most inner, the most intimate, the so-called “immigrants of identity”. The audience is taken on a journey through the jagged paths and landscapes between physical and psychic diaspora.

The contradiction and abstraction created when one listens a little bit to everything without actually really listening to anything is made palpable, dreamy, oniric landscapes are created where the alienation extends to space, time, material, body and psyche.

Firewater

An experimental theater piece about a woman’s escape to “Firewater” – a soap opera with an uninvited guest

Jane drinks.

In certain religions and spiritual beliefs, when one consumes alcohol their body becomes vulnerable; an open receptacle for bad spirits. This weakened state leaves the body defenseless to becoming demonically possessed. Jane, the newcomer to “Firewater”, is one of the unlucky ones that happens to fall victim.

A compilation of confessions and delusions, Firewater is a twisted nightmare of insatiable desires.

Unfolding Universe

A soundscape performance of everyday objects

Heiner&Lindsig assemble on stage a multitude of cups which they found on breakfast tables, in flea markets and in display cases. In scenarios ranging from everyday life, sensuality and obsessive misuse, the performers elicit hypnotizing soundscapes and images from their collection – creating a universe that follows laws of an inscrutable logic.

Veronika Heisig and Manuel Lindner are the founders and protagonists of Heiner&Lindsig. The duo began their collaboration in a short film project and created performances for stop motion films with everyday objects. They work playfully between different media and explore the magic in everyday life.

We Just Moved You

documentary theater

We Just Moved You is a new documentary play about moving in Berlin – from WG Zimmer to WG Zimmer, from relationship to relationship, from studying to working (maybe), from job to job (if you can get your hands on one) – and the families-by-choice we cobble together to help us get through it all.

Director Sylvia Avery is from New Zealand, where she studied theater, politics and teaching before moving to Berlin to learn German. Her last theater project was stage managing #Instalove, an interactive show staged at English Theater Berlin | International Performing Arts Center in 2017.

Born and raised in LA la land, assistant director Shaleah Dawnyel’s love for collaborative theater was bred on musical theater stages and doing sketch comedy in Hollywood. A classic artistic “slasher” she escaped the City of Angels in 2009 to begin a torrid love affair with Berlin. Thrilled to be part of the team, when asked if we could make expat theater great again, Shaleah replied: yes we can!

Composer Andrew Fox’s theatrical orchestrations include Twisted, Hansel and Gretel, and Foreverman (Winner 2012 NYMF Awards for Excellence, Outstanding Orchestration). He has produced several recordings, including the cast recordings for Twisted and Hansel and Gretel, the pop EP Twisted: Twisted, and Night Off by Tha Los. Andrew is a co-founder of Nvak , which brings popular music education and opportunities to students in countries facing social, political, and economic hardship. He is a founding faculty member and curriculum designer for the Contemporary Vocals program at AMDA and a voice instructor at the American Musical Theater Academy. Andrew wrote the music for the children’s musical Caveman 2.0, which will see its New York area premiere in Spring of 2018. Andrew is a member of the BMI Musical Theater Songwriting workshop and a graduate of SUNY Purchase’s Studio Composition program.

Production designer Marcella Gersh is a German-American material culture nerd. After completing her thesis in sustainable design at Hampshire College, she built furniture, produced daytime talk shows, assisted designers for theater and advertising, and worked on indie film projects. A sometimes overly passionate student of the meaning and substance of the visuals in narrative media, Marcella has relished the opportunity to develop this wonderful script through each character’s accessory and every little prop on stage. This is Marcella’s first play as principal designer.

Cast member Steve Greenfield is a true third culture kid and self-described “child of the global village.” Steve has been acting for more than 10 years, initially working with the murder mystery company Mystery Inc. He has also played at several interactive cult cinema events with the team at Screenage Kicks, highlights featuring a performance as the iconic musician Prince in Purple Rain. Aside from his live-action work based in Newcastle, UK, Steve has appeared on film in the web-based series Try Life, a horror anthology called Grindsploitation, The Movie, and as the lead in a vignette for the recent short film Rules of Engagement.

After having graduated with a degree in linguistics and literature, cast member Carolin Kipka started her acting studies at the Mainfranken Theater Würzburg under the direction of Bernhard Stengele (2009-2012). In the summer of 2012, she moved to Berlin and started working as a freelance actress and acting coach. In 2016 she finished an international acting programme that took place in Germany, Belgium, Switzerland, Croatia, Denmark, and Turkey. As an actress she has performed at ufa-Fabrik Berlin, Theater Leverkusen, Performing Arts Festival Berlin, Stadttheater Gießen, and Bühne 602 Rostock.

Vocalist Madeleine K. McMillan

Cast member Rose Warner Miles grew up in New York City and has loved theater since the moment she first heard the song “Anything You Can Do (I Can Do Better)”. She studied literature & psychology in the US, and after receiving her Bachelor’s degree in 2017 she moved to Berlin to write poetry and to practice her German. She was deeply involved with the student theater community in college, and credits include Water by the Spoonful (direction) and Fefu & Her Friends  (Christina). We Just Moved You is her first professional production and she is thrilled to be a part of this talented ensemble. Many experiences discussed in We Just Moved You resonate deeply with Rose, and if anyone has an available room to rent in their WG, please let her know.

Cast member Joseph Raisi-Varzaneh graduated from the Royal Academy Of Dramatic Art in London (BA Acting program) in 2014. Productions at RADA include Mercury FurThe Witch of Edmonton and Punk Rock. Prior to acting, Joseph trained in London and Mexico City in classical ballet and danced with English National Ballet. He has also performed in opera, including Terry Gilliam’s Damnation of Faust and as the Prince of Persia in Rupert Goold’s Turandot, both for ENO London Coliseum. Last year Joseph wrote his first full-length play, Sharks In A Paddling Pool, which was included in the 2017 RADA Festival. He is now working on his second full-length play. Further credits include Marnie for ENO, Cut Throat Camden Fringe, Glyndebourne Opera, Paramount/Plan B World War Z, and The Boy Dressed in Violins at Camden Peoples Theatre.

Raised across the globe in an ever-changing international setting, dramaturg and movement director Dineke Rieske went on to study history, culture, and philosophy during her BA at Amsterdam University College (with an exchange focused on theater and performance at UNSW in Sydney). She then continued studying theater for her MA at Utrecht University. Apart from her academic education, she has a year of dance training at Broadway Dance Center in New York under her belt. She has worked on shows in various capacities: both on stage as a performer and behind the scenes as (assistant) director, choreographer, and dramaturg.

Cast member Yael Rozanes is an actress, improviser and stand-up comedian from Ramat-Gan, Israel. Yael attended The L&L Goodman Theatre and Acting School of the Negev in Beer Sheva (2012-2015) after deciding to turn her ability to make stupid faces in front of the mirror into a career. She has performed in various improv shows, as a street performer, and in children’s and fringe plays, taught theater to kids and adults, and established her stand-up routine at Anna lou-lou Bar in Tel Aviv. She currently resides in Berlin, where she is a tour guide and a member of the “Ladies and Gentleman“ improv group.

Producer and playwright Alissa Rubinstein is a Los Angeles native who has been based in Berlin since 2012. Over the years she has worked as a playwright, translator, theater educator, literary manager, dramaturg, theater and film critic and stage manager in the United States, Germany, and Switzerland.  Her last play, The 614th Commandment, sold out its one-night run at the 2016 Expat Expo | Immigrant Invasion Festival at ETB | IPAC. She holds a BA in theater and German with a focus on dramatic literature and criticism, translation, and playwriting from Tufts University and an MA in public history with a focus on documentary theater from Freie Universität Berlin.

Cast member Lydia Shoup studied theater at Savannah College of Art and Design in Georgia and literature at Queen Mary University in London. When she’s not writing a novel she likes to fancy she’s a heroine in one by Henry James.

Lyricist Kevin Wanzor

Stage manager Fiona Wiedmann