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International Performing Arts Center




Blog Archive

Fuck me i love you

The circular motion and fluctuation of desire, power, ambition and the endless search for the unattainable love we all crave for is explored by an international cast of seven multi-talented performers. Together they create a station drama inspired by Arthur Schnitzler’s Reigen (La Ronde).

A series of encounters strung together depicts a society locked in a cycle.

“This city is no place for love. The people are too fragile to be genuine, too shrewd to be open. One becomes accustomed to immerse oneself in so many vain interests and ultimately lose sight of what is real.” Heinrich von Kleist, 1800.

I Am Not A Joke (Take Two)

WORLD PREMIERE

Feminism has never been so hip and trendy! We could see this as a true victory for feminism and still post a “I’m a feminist” selfie real quick. Let’s be honest. This kind of “high gloss feminism” doesn’t cover up the smell of the shit we encounter every day in the form of sexism, racism and every other kind of possible phobia.

Accompanied by a guitar, a synthesizer and drum machine, The Kill Joys sing, scream and perform against daily discriminations and the patriarchy. I Am Not A Joke (Take Two) is an appeal against this shit while simultaneously questioning the consumability of feminism.

The Kill Joys (Olivia Hyunsin Kim, Magda Drozd & Co.) examine intersectional feminist issues within the form of a theatrical concert performance. The collective was founded in 2016 and has screamed about what makes them angry in a do-it-yourself style ever since. Using songs and performative actions that focus on their own experiences with everyday racism as well as within the performing arts, they create a feminism that is relevant for them and their concerns as women, artists and immigrants that is certainly not a “feel good” marketing strategy.

Featuring a post-performance discussion on Thursday, March 1 in collaboration with Theater Scoutings Berlin!

Latent Dreams

Latent Dreams is a performance about the future.

Or more specifically the possible futures for the human race beyond the system of capitalism. The performance grew out of the quote “it’s easier to imagine the end of the world than the end of capitalism”, often cited to Frederic Jameson in his essay Future Cities.

Intrigued by this quote, I began to research possible alternatives to the capitalist system, and came across a “widespread lack of conviction in the possibility of transcending capitalism, and indeed, a difficulty in even imagining such a task”[1]. I wanted to encourage more discussions around alternative systems, and so I created Latent Dreams, about the futures we allow ourselves to envision, as a provocation to envision alternative ones.

Using the frame of Hollywood films, Latent Dreams unravels the inherent capitalist ideologies embodied in popular concepts of the Apocalypse. It involves a solo performer typing a “plot summary” of a disaster film, which is rewritten and rewritten, erased, repeated and deleted throughout the performance. The text is humorous, occasionally poignant, often misspelled and always human.

Latent Dreams aims not to provide a solution, but instead open a dialogue on imagined futures, and alternative systems.

[1] Hahnel, Robert & Wright, Erik Olin, Alternatives to Capitalism: Proposals for a Democratic Economy, p5.

Latent Dreams was conceived as part of the MLitt Theatre Practice at the University of Glasgow. It was first performed at the Gilmorehill Theatre, Glasgow, in September 2016. After presenting the show in its original form in the 2017 Expat Expo | Immigrant Invasion festival, we are proud to present a run of this extended, revised Berlin-specific version.

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Katrine Turner is a performance maker based between Berlin and Glasgow. She creates performance for different social contexts, settings and audiences. In November 2016, she graduated from the University of Glasgow in MLitt Theatre Practice with Distinction, where she was the College of the Arts Bellahouston Scholar 2015/2016.

The Other/Promised Land

“Maybe it’s just a myth.

You have your own history.

I have my own history.

And now we are just sharing the bathroom.”

 

Shlomo Lieberman and Ulrich Leinz confront three very different love stories in their performance: the disturbing memories about the grandmother who survived Auschwitz, the painful love letters of the German grandfather from Warsaw in 1943 and their own attempt to survive their relationship as a gay German/Israeli couple in Berlin.

 

Supported by the Israeli Embassy in Berlin and Theaterhaus Berlin Mitte

Botschaft Logo 2-zeilig 2

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.

 

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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.

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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.

 

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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.