We asked ourselves how wetness and stickiness could be a way of tracing the sliding of time. We started to build an intuitive archeology digesting the leftovers of the past 400 years in disrupted references. A soft, wet, shapeless mass of material that allowed our bodies to be unsynchronized. Hands became older than the rest of the body and we had to learn how to use them. Five bodies monstrously transforming, supporting each other with slippery and sticky hands. 
Carolina Mendonça, Catalina Insignares, Ida Daniel, Rodrigo Andreolli and Zuzana Zabkova are working once more in one of the different configurations in which they collaborate, expanding the notion of choreography and the body as a site of knowledge production, in particular those devalued by Western epistemologies.

Performance
by Carolina Mendonça, Catalina Insignares, Ida Daniel, Rodrigo Andreolli, Zuzana Zabkova 

Past Performances

• 2018-12-08, Mousonturm, Frankfurt
• 2019-06-12, Frankfurt LAB / FLAB Festival

Performance
by ScriptedReality (Aumüller, Bussmann, Krause, Salasse, Schmidt)
Gefördert von der HTA, Mousonturm
www.scriptedreality.net

Past Performances

• 2018-02-12, final project , Probebühne 1, Institut Angewandte Theaterwissenschaft
• 2018-04-10, Frankfurt LAB
• 2018-04-11, Frankfurt LAB

We are looking back, in order to look forward. To upcoming collaborations, fundings and part-time jobs. We are at the beginning of our careers. And we might as well be at the end: both options are very thrilling. One is sure - we are in the middle - of work, of life, in the middle of the pool of ever-changing conditions, and in the middle of waiting. 
"Retrospective" investigates the relationship, difference and border between the work that we want to do and the work that we must do. It questions the conditions of artistic work with all its privileges and affirms the power of negation and silence. "Retrospective" aims to open up to the ways of saying No, while staying in the structure and pretending to ‘play by the rules’.

Romuald Krężel played in 22 different TV commercial campaigns in Poland, Germany, Ukraine and Belarus. Some of his most successful commercials were for Bosch, Nutricia Foundation, Kaufland and Tyskie. The commercial for the painkiller Metafen was broadly recognized and awarded in the prestigious Polish Advertising Competition in 2014, as well as in other prominent advertising competitions. Romuald is a specialist in playing sympathetic, cool father roles and average, nice guys with a strong sense of comedy. In his free time, he is a passionate reader of critical theory. 

A cooperation between the Künstlerhaus Mousonturm and the MA Choreography and Performance within the frame of Hessische Theaterakademie.
Performance in English.

Concept, performance: Romuald Krężel 
Text, dramaturgy: Tamara Antonijevic 
Video, visuals: Monica Duncan
Artistic collaborator: Carolina Mendonça
Light, technic: Hendrik Borowski

Performance
by Romuald Krężel in collaboration with Tamara Antonijevic, Monica Duncan, Carolina Mendonça and Hendrik Borowski. 

Past Performances

• 2018-06-21, final project , Künstlerhaus Mousonturm FFM
• 2018-06-22, final project , Künstlerhaus Mousonturm FFM
• 2019-04-03, Warsaw (Nowy Theatre)
• 2019-04-04, Warsaw (Nowy Theatre)
• 2019-06-01, Berlin (HAU 3)
• 2019-06-02, Berlin (HAU 3)

It’s that time of year again! For four days, students of the Master Program “Choreography and Performance” at the Institute for Applied Theatre Studies in Gießen take over the Mousonturm once again. During the festival, they turn conventional rules on their heads. Curating, producing and performing merge one into the other until everything becomes an object of choreographic analysis. Economic structures, political activism, the rhythms of daily life, boundaries between violence and trust, post-ironic narratives and much, much more conquer the stages, foyers and corridors of the Mousonturm. “Rough Proposals” presents sketches and finished performances, opening up artistic realms of thought and inviting in experimentation.

Festival
by Studierenden des MA CuP (Choreographie und Performance) 

Past Performances

• 2018-06-28, Künstlerhaus Mousonturm Frankfurt
• 2018-06-29, Künstlerhaus Mousonturm Frankfurt
• 2018-06-30, Künstlerhaus Mousonturm Frankfurt
• 2018-07-01, Künstlerhaus Mousonturm Frankfurt

Sous la plage is a lecture performance on the construction of the European discourse on the Arab springs and the so-called “refugee crisis”, and a electroacoustic concert on the construction of identity and memory. With the help of a series of sound and video players, played live by the Syrian-born Palestinian journalist Mohammad Bitari, Sous la plage orchestrates a composition of acoustic and visual landscapes through the use and contraposition of documents coming as much from media as from subjective discourses, with the aim of providing a space of personal and critical reflection to counter the flood of of Europe-biased news.

Concept: Marc Villanueva Mir & Gerard Valverde Ros
Performer: Mohammad Bitari
Sound composition: Gerard Valverde Ros
Text and direction: Marc Villanueva Mir
Research and documentation: Mireia Pérez
Teaser: Mireia Pérez, Maria Besora
Photography: Lydia Cazorla, Anna Pujol Batllosera
With the special collaboration of Mireia Sallarès

A coproduction of Festival TNT - Terrassa Noves Tendències and Frankfurt LAB with the support of Sala d’Art Jove and Bòlit Contemporary Arts Centre, with the collaboration of European Institute of the Mediterranean, PEN International Catalan Centre and hangar.org

Production prize Art Jove 2016 and shortlisted work at the Stückemarkt 2017 of Berlin

Performance
by Marc Villanueva Mir, Gerard Valverde Ros und Mohammad Bitari 

Past Performances

• 2018-09-15, Festival IDEM | La Casa Encendida | Madrid
• 2018-09-16, Festival IDEM | La Casa Encendida | Madrid
• 2018-12-07, Teatre de Lloret | Lloret de Mar (Spanien)

Production
by Rosa Birkedal Andersen & Laura Knüsel (Bühne), Laura Eggert (Text, Regie/Alumna ATW), Tine Milz (Dramaturgie) mit: Chantal Dubs, Greg Tomlinson, Johanna Köster, Manuel Herwig (Schauspiel), Hannah Mehler (Gesang), Aske Lyck Petersen (Musik) 

Past Performances

• 2018-05-24, premiere , Theater der Künste, Gessnerallee Zürich
• 2018-05-25, Theater der Künste, Gessnerallee Zürich
• 2018-05-26, Theater der Künste, Gessnerallee Zürich

THEATERMASCHINE ATTACHES A LIGHTER OR SENSITIVE STRUCTURE TO A MASSIVE CARRIER.

THEATERMASCHINES ARE USUALLY HEAVIER, FIRMER AND MORE VIBRATION RESISTANT THAN THE COMPONENTS TO BE FIXED ON OR UPON THEM.

THEY SHOULD PROVIDE SECURITY AGAINST GROUND SEEPAGE WHICH THEY ARE MEASURED FOR.

THEATERMASCHINES APPLY AS AN INTERFACE BETWEEN DIFFERENT FUNCTIONAL AND STRUCTURAL AREAS.

OFTEN, THEY FULFIL BOTH THE FUNCTIONAL CRITERIA OF THE SUPPORTING AND THE FIXED STRUCTURE.

SPECIAL FORMS SERVE DISCONNECTION OR SEPARATION OF STRUCTURES (E.G. ELASTIC FOUNDATIONS OR ACTIVE SUPPLEMENTS).

THEATERMASCHINES MAY ALSO BE PART OF A LARGER STRUCTURE THAT WILL BE FOUNDED AGAIN.

Theatermaschine is the yearly exhibition of students' works of the Institute of Applied Theatre Studies (JLU Gießen) which presents current works all over Gießen such as performances, installations, stage plays, workshops, concerts, critic talks and lectures.

This year's Theatermaschine constitutes a metaphorical construction side from the 30th of May until the 3rd of June. This (non-) space unfolds in the constant act of becoming and evolving whereby the newly constructed changes constantly and might never be considered concluded.

more information: theatermaschine-giessen.de

Festival
by Studierenden des Instituts 

Past Performances

• 2018-05-30, premiere , tba
• 2018-05-31, tba
• 2018-06-01, tba
• 2018-06-02, tba
• 2018-06-03, tba

Date: Thursday, July 12th, 11-16h

Location: PB II

Once again, at the end of summer semester a student's conference in the frame of Gerald Siegmund's M.A.-colloquium is taking place. Students of ATW and CuP are presenting topics of their choice in academic lectures and are exploring key aspects of their interest and their academic research.

Including lectures by: Fabricio Belzoff, Caroline Creutzburg, Benedikt Grubel, Jost von Harleßem, Liliane Koch, Leander Ripchinsky and Antonia Rohwetter.

theôría
Eine Tagung der ATW-Studierenden
PB II, Schiffenberger Weg 115
12. Juli 2018 

Programme:

11.00 - 11.15 Prof. Dr. Gerald Siegmund: Begrüßung

11.15 – 11.45 Benedikt Grubel: Die leere Bühne und das Phantom des Nichts 

11.45 – 12.15 Leander Ripchinsky: "Das Dazwischen, welches ich gerne als Liebe verstehen würde"

12.15 – 12.45 Jost von Harleßem: Parsifal in Outerspace

Lunch Break

14.00 – 14.30 Fabricio Belzoff: Post-humanist performativity in dance: exploring 
choreography as material-discursive practice

14.30 – 15.00 Caroline Creutzburg: Die Leiche loswerden. Andauernde ‚matter‘ im
Anthropozän

Break

15.30 – 16.00 Liliane Koch: AVE MARIA - not that kind of girl

16.00 – 16.30 Antonia Rohwetter: Mutterpass - Zeitlichkeiten
eines affektive Dokuments

End

Lecture
by Master-Kolloquium von Gerald Siegmund und/oder Studierende der ATW und CuP 

Past Dates

• 2018-07-12, PB II

Performance
by Gregor Glogowski & Benjamin Hoesch 

Past Performances

• 2018-04-14, Mousonturm Frankfurt am Main
• 2018-04-15, Mousonturm Frankfurt am Main
• 2018-04-16, Mousonturm Frankfurt am Main
• 2018-05-08, HELLERAU - Europäisches Zentrum der Künste Dresden

Exhibition
by F. Wiesel (Hanke Wilsmann & Jost von Harleßem) 

Past Performances

• 2018-07-08, Fleetstreet Theater, Admiralitätsstr. 71, 20459 Hamburg, Germany

In „WHAT ON EARTH“, Caroline Creutzburg and her team imagine the earth’s crust as the main player along with its sediments and substances. Hardly conceivable – but let us assume, the world of today could be abstracted from all human activity and human omnipresence, which so self-evidently surrounds us, could be reversible: the news on the displays would disappear; air traffic would be stopped; data streams would cease; exports would stay within warehouses. All emission of noise, of images, of warmth, of information would run dry. Earth would show itself and it would tentatively tense its muscles. Not in apocalyptic destruction, but rather in the existence and continuation of manipulated and manipulative matter, the horrendous is to be expected.

Performance
by künstlerische Leitung, Geräusche: Caroline Creutzburg / Special Defects, technische Leitung: Stine Hertel / Raum: Matthias Nebel / Dramaturgie, Raum: Clara Reiner / Chor: Hendrik Borowski, Max Brands, Jacob Bussmann, Frédéric De Carlo, Daniel Shaw / Licht: Rahel Kesselring / Unterstützung Ton: Rupert Jaud / Küche: Else Tunemyr / Produktion: Hanna Steinmair 

Past Performances

• 2018-05-28, final project , Frankfurt LAB
• 2018-05-29, final project , Frankfurt LAB
• 2018-05-30, final project , Frankfurt LAB

Project
by Nana Melling, Jens Eschert 

Past Performances

• 2018-04-13, Graduiertentagung: "Praktiken in/der Versammlung. Körper - Medien - Zeugenschaft" an der JGU Mainz
• 2018-04-24, Roter Salon, Volksbühne, Berlin

Distance as a contemporary plague. Distance: psychological, physical, linguistic, mental. It’s a phenomenon that keeps us apart, but paradoxically ties us together, creating volumes, relationships. 
Distance is like water, it’s an invisible volume separating us, but at the same time binding and embracing. It’s crucial and essential for any object, being, space, relation.
But just as a line in Euclidean space, it can’t exist without at least two points. We are three points of many lines, here are our three distances.

A music theatre production in the context of Moscow coOPERAtion LAB:
www.cooperation-lab.com/main

Performance
by Ole Hübner (ATW, Komposition), Kira Malinina (Libretto), Kapitolina Tcvetkova-Plotnikova (Regie), GAMEnsemble, interACTive Ensemble, Oleg Paiberdin (musikalische Leitung) 

Past Performances

• 2018-12-08, premiere , Stanislawski- und Nemirowitsch-Dantschenko-Musiktheater Moskau
• 2018-12-09, Stanislawski- und Nemirowitsch-Dantschenko-Musiktheater Moskau

Performance
by Matthias Jochmann 

Past Performances

• 2018-01-25, final project , Probebühne 2, Institut für Angewandte Theaterwissenschaft