Boxes are her work.
Work is her life.
Her life is in boxes.
And they all look just the same.
Living a square life or breaking out of the box? One show, two performers, various techniques, and plenty of absurd situations.
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Blog Archive
Vacio
Vacio, created by Oskar Mauricio and Cia Omkara, deals with the need to connect the two contrasting worlds we are confronted with today: the digital and the organic world.
Vacio brings together physical theater, aerial dance, live music and visual projections in its attempt to forge this connection.
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Please, Repeat After Me
I have millions of reasons to be crazy; give me one reason to be sane!
Or
Please, Repeat After Me is a play about decision-making and labels.
(We)* are left abandoned in the theater with a real mermaid: a fish incapable of being eaten and a woman incapable of seduction.
But the mermaid is real!
When does a stereotype stop being a stereotype?
When does a refugee stop being a refugee?
When does an actor stop being an actor?
Harrende Räume und Trotzende Menschen
“When a man is just born, he is weak and flexible. When he dies, he is hard and insensitive. When a tree is growing, it’s tender and pliant. But when it’s dry and hard, it dies. Hardness and strength are death’s companions.” Andrej Tarkovsky, Stalker, USSR, 1979
In this performance, three dancers and a beatboxer make the struggle against the adversities of a paralyzing world physically tangible. The piece questions of the relationship between physical and mental forces as well as how human beings bundle their strengths in order to move beyond their own limits.
The combination of martial arts, krump, dance, live sounds and the given as well as sculpted space create a dense atmosphere and images for which each audience member creates their own contexts, evoking memories of one’s own physical condition and experiences.
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Stuck In Orbit
A Space Drama | A Science FACTion Tale
Imagine: You were launched into space at the height of the Cold War – 30 years ago. Your space station is a secret collaboration with your archenemy. Then the Iron Curtain fell and your space agencies conveniently forgot about you and your co-commander from the opposite side. The two of you have struggled for mental and physical survival ever since.
Theater, visual art and sound design meet in this intense exploration of outer and inner space.
post theater has created a situation in which the politics and psychology of the 20th century’s former East and former West, pessimism and optimism, meet in the form of two juxtaposed characters. The fictitious international space station PACE becomes a battleground of philosophies and beliefs. .
For many years, post theater has been working on post-documentary performances, blending intense research with fiction. Stuck in Orbit follows a series of reflections of Soviet era utopianism. The space race, at the height of the Cold War, was a combination of soft power diplomacy and military threat. Not too long ago, this felt nearly anachronistic. Currently, with raising nationalism and the emerging superpower China, this has gained a strange sense of contemporariness. Space has again become a battleground for geopolitical conflicts.
Stuck in Orbit is post theater’s first collaboration with ETB | IPAC. It is performed in English with German subtitles.
Post-performance discussions will be offered on May 10 with Johannes Weppler, a space aviation expert of the Deutsche Gesellschaft für Luft- und Raumfahrt and on May 11 and May 16 with the artists of the production.
post theater is an interdisciplinary performing arts unit without an ensemble. Projects range from theater to dance, multimedia performances to installations. Reoccurring themes are identity, resources and technology. The creative, haptic and original usage of video projections is a key component to the company’s work. post theater was founded in 1999 in New York, moved its headquarters to Berlin in 2002, opened a Tokyo branch in 2005 and one in Stuttgart in 2010. post theater has presented more than 50 works at festivals and arts institutions in 50 cities in 20 countries (e.g. Bangkok, Barcelona, Belgrade, Berlin, Cologne, Ljubljana, Milan, Munich, New York, Salamanca, Singapore, Seoul, Taipei, Tokyo, Vienna, Yokohama, Zagreb, Zurich). Hiroko Tanahashi and Max Schumacher are the artistic co-directors. In addition to the artistic work, post theater also gives lectures and workshops at art institutions and universities worldwide. post theater has won many awards, for example the Bremer Autorenpreis (2004 & 2011) and the Stuttgart Theater Award (2015 & 2017).
The Lab: Wer ist Medea?
Wer ist Medea?/ Who is Medea?/ Quem é Medeia?
How can we interpret a classic of dramatic literature in 2019? Why work with classics at all? Let’s go back…to the beginnings…and let’s start with a universally despised woman.
Wer ist Medea? is a music theater performance as well as a spoken word concert, manifesto, choreography, emotional rehearsal, a tragic monologue or maybe just an homage to all those women that are hated just because their stories were written by men.
This performance is the very first presentation of a work-in-progress, the first interaction with an audience. In between the many layers of performance, constructed upon the interpretations of a variety of authors, we work as archaeologists to understand and unearth Medea.
Who is Medea? The personification of one of the most heinous crimes imaginable, a mother who kills her own children? Or the woman who sees her children being murdered by her enemies? The cruel and cold woman that betrayed her own father, the king, killed her brother and abandoned her own country in the name of love? Or a strong and independent woman that serves as an existential threat to patriarchal society? A woman blinded by her thirst of revenge or the victim of an ambitious and unscrupulous man? A mother that in a final act of love chooses to deliver her children to the embrace of death instead of leaving them in the hands of her cruel enemies?
Join us and find out.
An attempt to create a new dramaturgy inspired by the mythological character Medea, herself the subject of a myriad of different authors who wrote about her, reinvented her and imagined her, including Euripides, Heiner Müller, Christa Wolf, Chico Buarque and Paulo Pontes.
Performed in English, German and Portuguese
The Land of Milk(y) and Honey?
Israelis in Berlin
Following completely sold-out initial runs in the fall of 2018 and winter of 2019, we are very pleased to offer these six encore performances.
LIMITED SEATING: Please note that there are only 50 tickets available for each performance!
“I pity those who no longer remember the Holocaust and abandon Israel for a pudding.”
This statement, made by Yair Shamir, then Israeli Minister of Agriculture, to the Jerusalem Post in October of 2014, marked the climax of the so-called “Milky protest”. In a post that launched a thousand ships, the Facebook page Olim L’Berlin (Aliyah to Berlin) urged Israelis to move to Berlin due to a markedly cheaper cost of living. The primary evidence? Aldi’s Dessertcreme & Sahne, a dessert comparable to Milky, the dominant pudding brand in Israel, sold for less than a third of the price. This Facebook post received more than one million likes within four days and created headlines around the globe.
Nearly 75 years after the end of the Second World War, Berlin’s Israeli community is estimated to number in the tens of thousands and impossible to verify due to issues of multiple citizenship. Is Berlin truly this promised land of milk and honey? Are people from Israel really immigrating here only because of the standard of living, nightlife and Berlin’s fabled cultural reputation? What about those Israelis who leave the country due to the current political climate? And what affects do 20th century history as well as multiple reports of rising antisemitism have on emigration from Israel to Germany?
Three Israeli performers explore these questions using verbatim text from 60 interviews with the widest possible spectrum of partners; Israelis with an active religious background, Israeli Arabs, highly politicized Israelis as well as Israelis who have absolutely no interest in politics.
The ID Festival is funded by the German Federal Government Commissioner for Culture and the Media, the Szloma-Albam Foundation and KIgA e.V. – Kreuzberger Initiative gegen Antisemitismus
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.
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.
The Land of Milk(y) and Honey?
Israelis in Berlin
Special preview event on Sunday, October 14 at 6:00 pm at Radialsystem (Holzmarktstraße 33, 10243 Berlin), free admission
LIMITED SEATING: Please note that there are only 50 tickets available for each performance at etb | ipac
“I pity those who no longer remember the Holocaust and abandon Israel for a pudding.”
This statement, made by Yair Shamir, then Israeli Minister of Agriculture, to the Jerusalem Post in October of 2014, marked the climax of the so-called “Milky protest”. In a post that launched a thousand ships, the Facebook page Olim L’Berlin (Aliyah to Berlin) urged Israelis to move to Berlin due to a markedly cheaper cost of living. The primary evidence? Aldi’s Dessertcreme & Sahne, a dessert comparable to Milky, the dominant pudding brand in Israel, sold for less than a third of the price. This Facebook post received more than one million likes within four days and created headlines around the globe.
Nearly 75 years after the end of the Second World War, Berlin’s Israeli community is estimated to number in the tens of thousands and impossible to verify due to issues of multiple citizenship. Is Berlin truly this promised land of milk and honey? Are people from Israel really immigrating here only because of the standard of living, nightlife and Berlin’s fabled cultural reputation? What about those Israelis who leave the country due to the current political climate? And what affects do 20th century history as well as multiple reports of rising antisemitism have on emigration from Israel to Germany?
Three Israeli performers explore these questions using verbatim text from 60 interviews with the widest possible spectrum of partners; Israelis with an active religious background, Israeli Arabs, highly politicized Israelis as well as Israelis who have absolutely no interest in politics.
The ID Festival is funded by the German Federal Government Commissioner for Culture and the Media, the Szloma-Albam Foundation and KIgA e.V. – Kreuzberger Initiative gegen Antisemitismus