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ÜBERSETZUNG/TRANSLATION/TRADUÇÃO

A performance somewhere between spoken word theater and a “dysfunctional” musical, Übersetzung is a personal kaleidoscopic view of Europe and the world we live in today. It is performed in English, Portuguese and German, a babel of languages.

The rise of nationalism, the reawakened fear of “the other”, the growing feeling of war observed daily in the news are all terrifying. In this tower of Babel that is Europe, will our differences destroy us once again? Haven’t we learned anything?

A: We are from everywhere; we will always be from nowhere…

B: What should I do now? Is there still a Europe? Am I at war? Are we at war? Is my democracy becoming dangerous? For me? For others?

C: How can I say this? How will I be able to communicate this? How can I translate myself?

D: One day we bought a one-way ticket from Lisbon to Berlin and left everything behind. The purpose? Start over. The world is a far good experience to miss. New country. New city. New people. New language(s) and Europe on the brink.”

 

*Illustration based on the painting The Tower of Babel by Pieter Brueghel the Elder.

Following a stunning premiere at the 2016 Expat Expo | Immigrant Invasion festival, we are very excited to invite this production back for three additional performances!

Featuring a post-performance discussion on December in conjunction with Theater Scoutings Berlin!

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Telion’s Garden (Dirty Granny Tales)

Dirty Granny Tales is an acoustic ensemble that narrates atmospheric stories. Their shows include puppet theater, dance performance and video animation projection, all of which, accompanied by the music, bring the story to life.

Influenced by the atmospheric fairytales of Tim Burton and Guilermo Del Toro, the melodies of Danny Elfman, the irony of Tiger Lillies, The Residents’ sterile landscape, Japanese Gothic theater and Butoh choreography, Dirty Granny Tales transports us to a magical dark world in their own extraordinary way.

Telion’s Garden, a tale influenced by migration, invades human instincts. Indignation and fear lead to desperate decisions. The pursuit of a perfect, flawless, godly world becomes the goal: a world that no flames can destroy, a world that has no room for hellish fire. Alas, the lack of fire can only create an emotionless world. Perfection is an illusion. Life is an inseparable bond of light and darkness. Respecting this bond is the only key to our survival.

 

Dirty Granny Tales are:

Stavros Mitropoulos (Mouldbreath): Vocals, Guitar, Mandolin

Thanos Mitropoulos (Wormeaten Vagus): Bass, Blockflute, Backing Vocals

Dalai Theofilopoulou (Slimeskin): Cello, Backing Vocals

Uli Muehe (Heartbeat Zero): Percussion, Backing Vocals

Ruby Wilson: Dance

Giulia del Balzi: Dance

 

Didi’s Son (Dirty Granny Tales)

In a world where everything is reversed and objects come to life while the human beings are subservient to them, a writer becomes part of the story that he is writing.

thanos didiHe falls in love with the leading lady of his fairy tale, threatened by his own story creatures, and in the end redeems them and is himself redeemed.

Dirty Granny Tales is an acoustic ensemble that narrates atmospheric stories. Their shows include puppet theater, dance performance and video animation projection, all of which, accompanied by the music, bring the story to life.

Influenced by the atmospheric fairy tales of Tim Burton and Guillermo Del Toro, the melodies of Danny Elfman, the irony of Tiger Lillies, The Residents’ sterile landscape, Japanese Gothic theater and Butoh choreography, Dirty Granny Tales transports us to a magical dark world in their own extraordinary way.

Dirty Granny Tales are:

Stavros Mitropoulos (Mouldbreath): Vocals, Guitar, Mandolin

Thanos Mitropoulos (Wormeaten Vagus): Bass, Blockflute, Backing Vocals

Dalai Theofilopoulou (Slimeskin): Cello, Backing Vocals

Uli Muehe (Heartbeat Zero): Percussion, Backing Vocals

Anna Athanasiou and Katerina Liana: Dance, Puppets

 

Two For A Girl

“When a Traveller tells a tale, they’re listened to.”

It’s 1946, rural Ireland. Josie Connors, a young Irish Traveller, sets up camp with her nomadic family on the edge of Ryan’s farm. When she crosses one of the deeply entrenched cultural lines between her Irish (ethnic minority) travelling community and the Irish (settled) community, we are catapulted through decades of unthinkable consequences. “Stuck between two worlds” in abject isolation and poverty, Josie keeps moving, presented with the most compelling reason of all to survive.

“It is hard not to be struck by the raw emotion generated by Mary Kelly and Noni Stapleton’s outstanding  work – Two for a Girl…. this is theatre stripped down to its basics and it works.” Sunday Business Post. Five Stars *****

ETBIPAC_Two for a girl_Pic_Gerald WesolowskiTwo for a Girl is an homage to the intimacy and simplicity of traditional Irish theater, a style that can be as affecting on the back of a cart or the corner of a pub as it can on a formal stage. As Mary Kelly seamlessly embodies the five main characters, you will be drawn across generations and to every corner of Ireland in this unique look at identity, freedom and loss when two distinct Irish communities collide. This is a play about the transformative power and absolute necessity of being heard and bearing witness.

“A very moving piece that leaves you walking out of the theatre in a daze with the smell of a campfire in your nostrils.”  Doireann ni Choitir UTV.ie

In commemoration of the 100th anniversary of the 1916 Easter Rising in Dublin, ETB | IPAC continues its exploration of new Irish theater with Mary Kelly’s and Noni Stapleton’s Two for a Girl. The play is performed by Mary Kelly, a Berlin-based actor and playwright who is part of Berlin’s burgeoning international Freie Szene.

MARY KELLY is an actor and playwright. She graduated from the Gaiety School of Acting, Dublin, in 2002. Five of her plays have been produced, two of which are published: Unravelling the Ribbon and Two for a Girl. Unravelling the Ribbon toured Ireland in 2008, and had its U.S. premiere in 2010 with the Tennessee Women’s Theater Project. It has recently been translated into French. Since moving to Berlin, Mary was commissioned and has written The Scarlet Web for Big-Telly Theatre Company, Northern Ireland.

Mary’s theater work includes Christine Linde in A Doll’s House (Alan Stanford, Second Age Th. Co. Ireland), Lydia in All My Sons (Robin Lefevre, The Gate Theatre) and The Little Mermaid world tour (Big-Telly Th. Co.). TV and film work includes Parked with Colm Meaney (Ripple World Pictures), Fran (Setanta and TV3) and The Clinic (RTE). Radio work includes The Hit List with Brendan Gleeson, written and directed by John Boorman, and Mayday written and directed by Veronica Coburn.

Mary’s previous work at English Theatre Berlin includes: two staged readings of new Irish drama during English Theatre Berlin | International Performing Arts Center’s Irish festival The Full Irish (2013) and in ETB | IPAC’s Science&Theatre production of Isaac’s Eye by Lucas Hnath (2013/2014/2015). In January 2016, Mary presented her prose work within the literary event Inkblot Berlin at ETB | IPAC.

Two for a Girl is published by The Stinging Fly Press, Dublin.

Photo: Gerald Wesolowski

Telion’s Garden (Dirty Granny Tales)

Dirty Granny Tales is an acoustic ensemble that narrates atmospheric stories. Their shows include puppet theater, dance performance and video animation projection, all of which, accompanied by the music, bring the story to life.

Influenced by the atmospheric fairytales of Tim Burton and Guilermo Del Toro, the melodies of Danny Elfman, the irony of Tiger Lillies, The Residents’ sterile landscape, Japanese Gothic theater and Butoh choreography, Dirty Granny Tales transports us to a magical dark world in their own extraordinary way.

Telion’s Garden, a tale influenced by migration, invades human instincts. Indignation and fear lead to desperate decisions. The pursuit of a perfect, flawless, godly world becomes the goal: a world that no flames can destroy, a world that has no room for hellish fire. Alas, the lack of fire can only create an emotionless world. Perfection is an illusion. Life is an inseparable bond of light and darkness. Respecting this bond is the only key to our survival.

 

Dirty Granny Tales are:

Stavros Mitropoulos (Mouldbreath): Vocals, Guitar, Mandolin

Thanos Mitropoulos (Wormeaten Vagus): Bass, Blockflute, Backing Vocals

Dalai Theofilopoulou (Slimeskin): Cello, Backing Vocals

Uli Muehe (Heartbeat Zero):  Percussion, Backing Vocals

Ruby Wilson: Dance

Giulia del Balzi: Dance

 

Mars One – Venus Zero

a one-and-a-half-man show by A Fish Needs A Bicycle exploring the complications of modern masculinity and the recent outbreak of “Meninists”; Men’s Rights activists who troll the Internet to harass women and undermine their rights and progress.

We step into the world of our misguided protagonist, Mike, as he prepares his audition video for the “MARS ONE” space program while pondering the state of the Earth and his fear of the pending female takeover.

MARS ONE – VENUS ZERO sets out to highlight a real and ever present danger using storytelling, live music and emotional statistics.

Gem Andrews

is an English writer, director and professional musician from Liverpool, UK and has been creating work across the UK since 2004. Gem also works within the participatory arts sector between Berlin and Newcastle upon Tyne, UK; facilitating music and writing workshops for young offenders and is particularly interested in creating theater work through the voices of society’s most disenfranchised, in particular the LGBTQ community and the British working classes.

Currently living and working in the Neukölln and Kreuzberg districts of Berlin, Gem’s ongoing projects include writing the score for Chicken Pox Fox’s upcoming play Betsey Ann and promoting her new critically acclaimed album of original songs, Vancouver.

Richard Gibb

Richard Gibb is a theater maker and storyteller from Aberdeen, Scotland and has been creating work in the UK since 2008. In Newcastle, England he was a part of several theater companies that created original and thought provoking work ranging from walkabout festival performances to immersive storytelling theater. In England, Richard also worked for 6 years in the participatory arts sector, using the context of theater to engage with a wide range of people, from children with disabilities, to adults struggling with homelessness.

Richard is most interested in creating work that is original, relevant and engages with the community in which it exists. He currently lives in Prenzlauer Berg and works all over Berlin.

Celebrity Bound

Do you want to be famous? Do you want to be a star?

Success. Access. Excess. All of it can be yours.

You were born famous. It’s just that no one knows it yet.

Fashion. Fortune. Freedom. All of it is yours.

You don’t create fame. Fame creates you.

But do you have what it takes?

The trick. The secret. The rule book.

USA bred writer-director, Catherine Duquette, has the secret. In her interactive, one-woman show, Celebrity Bound, she’ll show you how it’s done. Over the course of three nights, blending movement, video, scripted and improvised text, as well as audience interaction, a star will be born. Who will it be? Perhaps YOU are the next hot celebrity.

Watch the trailer here:

In a time dominated by social media, rapid data consumption and curated identities, Berlin-based performer and writer <strong>Catherine Duquette</strong> strives for closeness and connection. She specializes in audience-performer relationships, movement and improvisational scores. Her performances exact moments of heightened awareness and honesty on stage in an effort to dissolve the barriers that shape how we perceive and (dis)connect with the world around us. Her solo work has been supported by MOMENTUM Berlin, English Theatre Berlin | International Performing Arts Center, a Fulbright Fellowship in Spain, the International Festival of the Delphic Games in Greece and the Subterranean Art House in Berkeley, California. Catherine studied theater at Arizona State University and the British American Drama Academy in Oxford, England. She earned her master’s degree in Performance Studies from New York University prior to relocating to Germany. Despite frequent moves, Catherine calls the Sonoran Desert of Arizona home.

Celebrity Bound

I’ve always been a celebrity. It’s just that no one knows it yet.

In her one-woman show Celebrity Bound, writer-director Catherine Duquette grapples with the polarities of celebrity and commonness, investigating her own relationship to fame and the personas that influence it. We admire celebrities for daring us to believe that anyone can achieve success, fame and fortune, yet we condemn them for seemingly having it all and for leading glamorous lifestyles that are well beyond our reach.

What are the forces behind celebrity? What drives the cultural phenomenon to simultaneously build and destroy the “Beautiful People”? How does celebrity negotiate the tension between access and excess? Through movement, language, video, scripted and improvised material, as well as audience interaction, Catherine moves fluidly between celebrity and fan, fantasy and reality, confronting her own desire for and repulsion towards becoming celebrity.

Original concept devised in collaboration with Michael Burditt Norton.

Watch the trailer here:

In a time dominated by social media, rapid data consumption and curated identities, Berlin-based performer and writer Catherine Duquette strives for closeness and connection. She specializes in audience-performer relationships, movement and improvisational scores. Her performances exact moments of heightened awareness and honesty on stage in an effort to dissolve the barriers that shape how we perceive and (dis)connect with the world around us. Her solo work has been supported by MOMENTUM Berlin, English Theatre Berlin | International Performing Arts Center, a Fulbright Fellowship in Spain, the International Festival of the Delphic Games in Greece and the Subterranean Art House in Berkeley, California. Catherine studied theater at Arizona State University and the British American Drama Academy in Oxford, England. She earned her master’s degree in Performance Studies from New York University prior to relocating to Germany. Despite frequent moves, Catherine calls the Sonoran Desert of Arizona home.

Featuring a short introduction and post-performance discussion on October 22 as part of Theater Scoutings Berlin!

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The Emigrants

Life as immigrants in Germany – setting off into alleged freedom, intellectual, political or financial, leads a man and a woman into somebody’s basement. One, seemingly a migrant worker, and the other, who at first glance appears to be an intellectual, are left to sink or swim in this barren environment. The reference to theater of the absurd is clear. Up to this point, Threepenny Theatre follows the dramatic source material of Sławomir Mrożek.

Then the text intertwines with the lives of the performers, is deconstructed through a Babylonian confusion of languages and the boundaries between intimate reality and performance blur. After all, Babylon is the everyday life of the performers: Marija Maki Lipkovski is Serbian and Miklós Miki Barna is Hungarian – they live together in Germany and speak Hungarian and Serbian, usually English and German with each other, and sometimes Italian, too. The fact that misunderstandings are just a regular part of the daily routine becomes the means to cryptic humor on stage.

Through a dizzying combination of mask theater, political and intellectual digressions and self-made films, these emigrants search on stage for the freedom they came here for in the first place. In doing so, they explore especially elaborate relationships between theater and film.

This results in grotesque hybrids: 1/3 human being, 1/3 stage character, 1/3 film character. It increasingly seems as though they are a chasing a ghost that is not to be found on any of the three levels, leaving them prisoners of a grand idea.

Watch the trailer here:

Featuring a post-performance discussion on October 2 as part of Theater Scoutings Berlin!

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