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International Performing Arts Center

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2020 EXP(L)O(RE) – Evening 2

This format and is dedicated to newcomers, shorter performances and work-in-progress. This year, we are offering four performances over two evenings.

CON-SENSUAL | Interdisciplinary Performance (8:00 pm)

Directed, Devised and Performed by Derya Durmaz (Turkey/Germany) | Dramaturgy by Katja Kettner (Germany) | Audiovisual Directing & Editing by Özlem Sariyildiz (Turkey/
Germany) and Bora Yediel (Turkey/ Germany) | Stage and Costume Design by Turgut Kocaman (Turkey/Germany) | Set Choreography by Merve May Parlar (Turkey/Germany) | Performed by Michaele Daoud (Syria/Germany)


Pain and pleasure. Giving in and giving up. Playing and roleplaying. Do you play your part? Did you write your part? Or were you given your part? Was it consensual? Or were you conned? Was it at least sensual? Is it time to come to your senses? Maybe then you can finally make sense of it all…

Con-Sensual is an interdisciplinary performance project that takes a close and intimate look at how much of an understanding we really have of our (chosen or given) gender roles and the parts we play.



THE HORROR WOMAN A.K.A. TOO DARK … TOO SWEET … TOO DEAD? | Dance Performance (9:00 pm)

Choreographed and Performed by GᾹZ collective a.k.a. Noga Abramovitch (Israel), Helen Burghardt (Germany) and Zoe Goldstein (United Kingdom)

Sitting in a darkened movie theater, hunched up, limbs knotted, hands over faces, three friends wonder how it is that they happen to be seeing yet another horror movie together. It’s that fine, intriguing line between fear-horror-pleasure. This shared visceral experience also raises questions: what’s up with women in horror films? All those beautified helpless victims and sirens with dark powers. Who created them and through whose eyes are we watching? How do we connect, and to what, when these female archetypes bleed across the screen? An unlikely and frightening adventure ensues.

The Horror Woman a.k.a too dark … too sweet … too dead? is a dance horror piece, exploring feminine archetypes and expressions of femininity in horror, the female gaze in horror as well as the translation and transitions between cinematic and stage languages.

The Horror Woman a.k.a. too dark … too sweet … too dead? was developed with support from ADA Studios and Theaterhaus Berlin Mitte.

Beyond the Light

Beyond the Light is a video performance that seeks to investigate the toxicity of censorship in the body and in everyday life.

Over the course of previous work- and practice-based research with a motion sensor light, Hyoung-Min Kim and Gabriel Galindez Cruz explored the impact that both state-induced censorship as well as forms of self-censorship have had on their lives and their bodies.

In light of the current dramatic pandemic situation, Beyond the Light is a new work created especially for the 2020 Expo Festival. It will be presented by another form of performance using voice, visual material and sounds.

Does censorship contaminate us like noxious chemicals, imperceptible to the eye but slowly spreading the poison of self-optimization and suppression into our minds, bodies, and behaviors?

Beyond the Light has no definitive ending in the classical sense. Rather, it employs an ongoing, ever-mutating practice that engages with the subtle techniques of censorship in order to locate it, quarantine it, override it and perhaps, to find creative and generative ways to transform it into everyday survival strategies.

The White Plague: A Binaural Play

An immersive binaural experience developed from the play The White Plague (created in 2017 and performed in UK and Greece) as a response to the health & safety restrictions imposed in theaters during COVID19.

10 years have passed since a fiercely contagious virus spread among a major city’s population, causing a mysterious white blindness and eventually, society’s collapse. Now five survivors come forward to tell a story they were not allowed to share before. A story of unprepared quarantine facilities and dehumanizing circumstances that drive citizens to expose the very brightest and darkest aspects of their human nature. A story of government negligence, police violence and persevering humanity.

This binaural experience places the audience in the middle of the action as a state-of-the-art sound design transports them to every location of the play and inside every character’s head. A starting point to explore social coherence, gender roles and the survival instincts of a society in crisis.

Mortality, Hooray

Childhood is a viral infection that causes swelling in the glands of the neck.


Greta follows beauty tips, Jim considers himself to be the victim of paranormal activity,

while Mary and Mrs. Ko fall in love with each other.

The mystery of the human soul creates a poetic universe full of absurdity, contradictions and hope, interrupted by scientific information.

It’s an accurate, erotic composition, an enigma based on reality.

Reality is funny.

The play encapsulates eastern civilization in a certain sense, wondering what knowledge is

and providing a humorous perspective on human relations

as an incredibly unique cosmos in need of revision and reunion;

an attempt to make the gaze more tender and brave,

while it envisions the present as a moment of coexistence, as eternity.

In the end, even death unites us.


… is that day in your life when you see it…

the time slips away…

and all you live is not what you have wished

is the moment when your whole world is shattered

that very moment when your dreams come back asking for all you promised

when you feel it…

the noose is moving up…further and further…it is tightening around your throat…stealing your air…stealing your breath

…because until then you thought you were alive.

A surrealistic performance somewhere in between black comedy and the theater of the absurd. With the use of tabletop puppets and cinematic narration, the puppeteers animate the puppets without being visible to the audience.

2020 EXP(L)O(RE) – Evening 1

This format and is dedicated to newcomers, shorter performances and work-in-progress. This year, we are offering four performances over two evenings.

I AM EVERYBODY, I AM EVERY BODY | Performance (8:00 pm)

Written, Directed and Performed by Marque-Lin (USA) | Sound, Video and Stage Design by B_No_Source [live] (Germany) | Choreography by Ly Nguyen (Germany/Vietnam) | Costume Design by Jessika Strauck (USA/Germany/Paraguay) | Camera Operation and Documentation by Kantatach Kijtikhun (International/ Thailand) | Camera Documentation by Paul Henschel (Germany)

I Am Everybody, I Am Every Body is an experimental performance and audio-visual piece that traces a fractured semiautobiography of MARQUE-Lin as a daughter of Vietnamese refugees. Using extractions from her life as footage and material, B_No_Source [live] will modulate and rearrange MARQUE-Lin’s voice live on stage, transforming her into <s*he> – a nation- less AI-produced female entity that has decided to finally investigate the systems and networks that have created her in search of her point of origin and subsequently her purpose in living an existence of such ambiguity and suffering.

Questions of nationhood, inter-generational inheritance, historical and personal trauma skip and glitch as <s*he> questions the pervasive sense of unrest and constant malfunctions happening in her body. Something is calling her from the edge of her self-understanding. From within the black box—a space where unknown codes and hidden layers categorize and determine – her identity emerges. Where does <s*he> begin? Which systems are complicit in the creation of immigrational identity? How much of our digital networks represent our own hidden prejudices? Is there an escape? PRESS START.



MILKTOOTH | Performance 9:00 pm)

Created and Performed by Promona Sengupta (India)

In the not-so-distant future, when interplanetary travel, collaboration and governance is the established order of the day, a young woman on Earth, turning 30, decides to fill the emotional void in her single life by taking part in the intergalactic adoption scheme and becoming a single mom. The catch – her newborn adoptee is a gigantic extraterrestrial child who Earth-dwellers would simply refuse to accept. As they grow old together, mother and child find tenuous ways of communicating, loving, caring and intimacy that take the world by shock and raise violent alarm bells everywhere from the Kita to the playground, until a terrified neighbor calls the authorities.

This is the story of a young single mom trying to save her special-needs-child from being taken away by the intergalactic child services, all the while attempting to love someone who does not fit into the human definition of “lovable”.






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.

Born in East Berlin

30 Jahre Mauerfall / The 30th Anniversary of the Fall of the Berlin Wall

A bilingual staged reading (with corresponding subtitles) of a new play by Rogelio Martinez, off-site at Stasi Headquarters, Campus for Democracy in “Haus 22” (Ruschestraße 103 in 10365 Berlin-Lichtenberg)

In 1988, Bruce Springsteen played a legendary concert in East Germany. 300,000 people showed up, making it the largest concert event in the entire history of the German Democratic Republic.

Born in East Berlin explores the ultimate juxtaposition between the freedom of a rock concert and the captivity of an oppressive government during the time of a great historical and cultural shift. Anne, a spirited road manager from the United States, navigates a labyrinth of Stasi bureaucracy and learns how personal their tactics can be. A sly look at the cost of institutionalized dishonesty and the power of rock and roll.

In cooperation with the Stasi Records Agency

Followed by a post-performance discussion with playwright Rogelio Martinez, director Johanna McKeon and Dagmar Hovestädt (Head of Communications for the Federal Commissioner for the Stasi Records [BStU]), moderated by Daniel Brunet


“The door to the street slammed shut.”

When Nora left her husband and children to pursue her independence, freeing herself from the doll’s house society placed her in, the door slammed so hard it was heard around the world. 1879, also the year in which the incandescent light bulb entered mass production, witnessed the beginning of a debate about individualism, freedom and self-empowerment that is still being conducted today, 140 years later.

After nearly one-and-half centuries, what has changed? Can this prototypical tale of female emancipation be applied to other demographic groups in the 21st century? What role can Henrik Ibsen’s classic play perform in contemporary society? How can it remain as vital as it was in the 19th century without collapsing into clichés and empty proclamations?

A trio of male performers visits a new country, Noraland, putting on Nora’s words like festive dresses, trying to fill her shoes in a heroic yet ridiculous attempt to follow in those (in)famous footsteps.