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Am I Dead Yet? (Chris Thorpe & Jon Spooner / Unlimited Theatre)

Death is no longer a moment. It is a process. A process that can be reversed.

Two friends, talking (and singing) about what happens when we die, how we think about dying, and most importantly, how some of us might be brought back.

Performed by Unlimited founding members Jon Spooner and Chris Thorpe, Am I Dead Yet? is filled with stories and songs about death and dying and about how we don’t talk about it enough.

This new show from Unlimited Theatre, one of the most renowned British theatre companies, is inspired by research into contemporary developments in resuscitation science and made in collaboration with emergency care professionals.

“Vibrantly theatrical and typically absorbing” **** Independent
“Chris Thorpe and Jon Spooner’s electric view on the dying process will rewrite your expectations for your final end” **** The Stage
“An enjoyable, poignant cabaret piece about death in the distant and all-too-near future” The Guardian

We are very excited to welcome Chris Thorpe back to English Theatre Berlin | International Performing Arts Center following our work together on his scintillating solo performance, Confirmation, as part of Theatertreffen / Stückemarkt Revisited 2015.

Watch the trailer on YouTube:

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Jon Spooner is a director, writer, performer, founder member and the artistic director of Unlimited. He has directed and performed in numerous Unlimited shows, including Fringe First winners Static (invited to English Theatre Berlin in 2002) Neutrino, Safety by Chris Thorpe (with the Crucible Theatre, Sheffield) and Zero Degrees & Drifting. Jon also co-writes and directs the annual Christmas show for the BBC’s CBeebies channel filmed live at a major UK theatre and then broadcast on CBeebies and BBC One.

Chris Thorpe is a founder member and a core artist with Unlimited, and also an artistic associate of Third Angel. As a solo performer, he is making a cycle of solo pieces called Eating Wasps and continues to collaborate with companies like Slung Low, RashDash and Soup Collective, with whom he wrote and recorded the piece The Bomb On Mutannabbi Street Is Still Exploding, which has been permanently installed at the Imperial War Museum North. Chris has won Fringe First Awards in 2011 (for The Oh Fuck Moment with Hannah Jane Walker) and 2014 for Confirmation. His durational theatrical experience, The Milk of Human Kindness was at the Royal Court in London in 2016. He recently wrote Chorus for The Iphegenia Quartet at the Gate Theatre, as well as a new piece, Victory Condition, for the Royal Court which will open in September 2017.

Director Amy Hodge’s credits include The Ethics of Progress for Unlimited Theatre, Our Big Land (Romany Theatre Company), The Rover (Hampton Court Palace), Romeo and Juliet (Theatre Uz, Uzbekistan for the British Council). She was Associate Director at Sherman Cymru from 2008 to 2011 and has also directed shows at the Tricycle, Young Vic, Orange Tree Theatre and West Yorkshire Playhouse. Amy was Studio Associate at the National Theatre (2013-14) and was the recipient of the 2007 Jerwood Directors Award.

IMPRO 2017: Afterlife

IMPRO, Berlin’s festival for improvisational theater, presents top-notch improvisers from all over the world and has celebrated the art of international spontaneous theater annually since 2001.

In 2017, IMPRO presents a show that really is a matter of life and death:

“As death approaches, the quality of the time that remains becomes the issue.” Michael Kearney, Mortally Wounded

Afterlife is an experimental performance piece about death, dying and how we choose to live, performed by a distinguished international cast. Through existing materials, original material, spontaneous material and interaction with the audience, the performers hold up a mirror to mortality asking everyone to think about their own lives and experience. Afterlife explores the traditions around death in a personal and cultural way. The cast examines the traditions, taboos, myths, legends and assumptions about death and afterlife as experienced in their own lives and countries. This is an evening of reflection, humor and improvised scenes and stories brought to you by some of the world’s most beloved improvisers, including well-known IMPRO guests like Trixi Brunschko (Austria), Maja Dekleva Lapajne (Slovenia), Randy Dixon (USA) and many more.

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

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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.

 

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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

IMPRO 2016

Over the years, IMPROV has become one of the largest and one of the most important festivals of its kind in Europe. Good improvisational theater is meant to mirror its time, and thus IMPRO 2016, the international festival for improvisational theater (March 11-20) is dedicated to all those who are hoping for a better life outside of their home country.

IMPRO-2016_11_©Matthias-Fluhrer_klein

Saturday, March 12 | 8pm
Improv Without Borders

Professional improvising artists as well as improv amateurs will be celebrating the liveliness of improvised theater all over the world, from Melbourne to Shanghai, from Atlanta to Sindelfingen, today, on March 12. We, the Gorillas, invited the international improv community to do this, and every day, more improvisers adopt this idea. On the world’s improv stages, there will be scenes, whether lugubrious or celebrating life, but they will show the greatness of improvised theater: this understanding across borders, playing theatre scenes together, and commemorating those who are on the run around the world on this day. Moreover, it is our joint aim to support refugees: the proceeds of the six shows will go in equal shares to ProAsyl and Asyl in der Kirche; our other participating colleagues will be supporting local organisations around the world. In Berlin, the international ensemble will be playing at Baptistengemeinde Schöneberg, Bühnenrausch, English Theatre Berlin | International Performing Arts Center, the Volksbühne’s Grüner Salon, the Ratibor Theater, and at ufa Fabrik, with a colorful mix of 5-6 improvisers at each location. It’s up to you, dear audience, to make this day a festival of theater. You only have to come along.

Sunday, March 13 | 8pm
Who Are You?

Who are any of us really? A show, developed and presented by Lee White of CRUMBS, exploring who we are by asking questions designed to gain insight, and see the perspective of others. Discover who you are by learning how people perceive themselves. Plenty of laughs and heart touching moments as we see the person behind the walls we surround ourselves with everyday.

Monday, March 14 | 8pm
A Place To Be

The issue everyone talks about has arrived at our festival, too. This evening will approach the issues of exodus and borders, limitations and freedom, by means of improvisation. Farah Shaer and Lucien Bourjeily from the Lebanon, who already delighted IMPRO audiences two years ago, as well as Tarek Kannish (Syria) and Raouf Khelifa (Algeria) will first pass on their experience with these issues to the international cast in internal workshops. This is exactly the kind of IMPRO which is the reason why we, the Gorillas, organize it: it’s theater, as unpredictable as our life, which can also be as exhilarating in that people meet on stage and communicate across the barriers of language and culture; they are foreigners and approach each other, they misunderstand and understand. Everything that’s typical for life itself.

Tuesday, March 15 | 8pm
A Place To Be

The issue everyone talks about has arrived at our festival, too. This evening will approach the issues of exodus and borders, limitations and freedom, by means of improvisation. Farah Shaer and Lucien Bourjeily from the Lebanon, who already delighted IMPRO audiences two years ago, as well as Tarek Kannish (Syria) and Raouf Khelifa (Algeria) will first pass on their experience with these issues to the international cast in internal workshops. This is exactly the kind of IMPRO which is the reason why we, the Gorillas, organize it: it’s theater, as unpredictable as our life, which can also be as exhilarating in that people meet on stage and communicate across the barriers of language and culture; they are foreigners and approach each other, they misunderstand and understand. Everything that’s typical for life itself.

Wednesday, March 16 | 8pm
The Freedom Game

Will we become more creative as the rope of regulations and infringements of personal freedom becomes ever tighter? Or will the joy of movement wane at some point, in resignation of anticipatory obedience? Together with the audience, the improvisers will use the means of improvised theater to examine these interrelations in the context of society’s politics – albeit not exclusively – such as fear of terror, telecommunications data retention, xenophobia. Which conclusions will we come to? Is dictatorship funny in improv, but not so much in everyday life? It’s a theater experiment in two acts.

Thursday, March 17 | 8pm
A Place To Be

The issue everyone talks about has arrived at our festival, too. This evening will approach the issues of exodus and borders, limitations and freedom, by means of improvisation. Farah Shaer and Lucien Bourjeily from the Lebanon, who already delighted IMPRO audiences two years ago, as well as Tarek Kannish (Syria) and Raouf Khelifa (Algeria) will first pass on their experience with these issues to the international cast in internal workshops. This is exactly the kind of IMPRO which is the reason why we, the Gorillas, organize it: it’s theater, as unpredictable as our life, which can also be as exhilarating in that people meet on stage and communicate across the barriers of language and culture; they are foreigners and approach each other, they misunderstand and understand. Everything that’s typical for life itself.

Friday, March 18 | 8pm
Our Lives

Hardly any other art form lets the actors use their own life experience to directly impact what’s happening on stage like improvised theater does. Eight players from eight nations each get to draw one of the following subjects out of a hat: love, family, work, tradition, city, country, Christmas and food. As the directors, the players will examine their subject together with their fellow players and attempt to improvise and present what’s characteristic for their country in respect to this subject.

Saturday, March 19 | 8pm
Almost Ibsen & Speechless

Henrik Ibsen is dead. “What a pity”, some will say, “thank God” say others and some people will confess “I didn’t know“” Three of the best improvisers of Norway’s Det Andre Teatret, Torgny G. Aanderaa, Camilly Frey and Nils Petter Morland will improve a one act play based on Ibsen, which has never been written. It’s an improvised tragedy, based on the audience’s
suggestions, staged with appropriate costumes and set design, but without prescribed structure or dramatic rules.

Speechless is an evening full of poetry. It’s magical and fantastical in more than one sense: the two Columbian improvisers Daniel Orrantia and Felipe Ortiz, together with their congenial Canadian DJ Mama Cutsworth, will put a spell on their audience. Not a single word is spoken while the three of them develop improvised stories from the audience’s suggestions. Inspired by
silent films, improvised theater, pantomime and cirque moderne, this is a very special show, and unique each time.

 

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

 

Fear Industry

What are we afraid of?

2 performers and 1 mezzo-soprano reveal a living archive of 21st century fears: we now fear anything from killer bees to pedophiles, deadly diseases and online spying, avian flu, old age and mad cows, immigrants, anthrax, wrinkles, environmental collapse, and, lest we forget, terrorists.

Enthusiastically received by audience and critics during its world premiere as part of the opening festivities at the European Capital of Culture and Cyprus Fringe, the performance explores the concept of fear and its orchestrated manipulation through economic and political forces, its dissemination by the media and its subtle proliferation in contemporary society. The staging blends theater with elements from opera and Lieder and combines stand-up performance with stylized movement to walk the tightrope between our instinctive fears and those amplified and manipulated by our surroundings.

Watch the trailer here:

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“The atmospherically dense staging places us in a vigil state of recognizing a culture of fear everywhere in all its glorification and with all its personal, political and cultural dimension…  …Achim Wieland manages to move this performance in the category of art as a vehicle of reawakening.”  –ANEF Magazine, Christina Georghiou
“An invasive and pervasive testimony.” –TimeOut Magazine

The production as well as some sections of the European project tour are supported by the Cyprus Ministry of Education and Culture, the Cultural Funding Program of the City of Stuttgart, Diablog.eu, the German Embassy Nicosia, MITOS Center of Performing Arts, Kulturabteilung der Republik Zypern in Berlin,  the University of Nicosia, the Goethe-Institut and Columbia Shipmanagement

Featuring a post-performance discussion on Wednesday, February 17 as part of Theater Scoutings Berlin!

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