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Events 2022

5,97 x 10²⁴ kg oder die Masse der Welt

Idea / Concept / Director / Text / Scenography / Visuals: Lisa Horvath

Music and performance: Kristin Gerwien

Music and interaction design: Valerio Zanini, Nick Acorne

Dramaturgy: Victoria Fux

 

  • Performance
  • Installation
  • Concert
  • Final piece (Lisa Horvath)

 

Performances

studioNAXOS (Naxoshalle Frankfurt) Waldschmidtstr. 19 60316 Frankfurt am Main

  • Friday, 22. April 20:30 - 21.30
  • Saturday, 23. April 20:30 - 21.30
  • Sunday, 24. April 20:30 - 21:30

 

 

 

5,97 x 10²⁴ kg oder die Masse der Welt
Image: Clara Wildberger

1001 SORRYS

Concept & Performance: Max Brands, Bastian Sistig, Hanna Steinmair
Costume: Josephine Hans
Lightconcept LAB: Carina Premer
Outside Eyes: Caroline Creutzburg & Susanne Zaun


  • Performance

Performances

  • 22.03.2022, Frankfurt LAB, Halle 1
  • 23.03.2022, Frankfurt LAB, Halle 1

 

 

1001 SORRYS
©Katrin Schander

 

1001 SORRYS
©Katrin Schander

 

1001 SORRYS
©Katrin Schander

 

1001 SORRYS
©Katrin Schander

©Katrin Schander

Aus dem Innenleben eines Staubsaugerbeutels

Concept & Performance: äöü (Patricia Bechtold / Johannes Karl)
Special effects & Performance: Carlos Franke
Performance: Sarah Wessels
Stage & costume: Eunsung Yang
Dramaturgy: Franziska Schneeberger

 

  • Performance

 

Performances

  • 07.04.2022, RADAR Festival für Junges Figurentheater im T-Werk Potsdam

 

Aus dem Innenleben eines Staubsaugerbeutels
©Ingo Solms

AUS DEM INNENLEBEN EINES STAUBSAUGERBEUTELS

Dust is everywhere. In the cracks of your computer keyboard, on the leaves of your yucca palm, in the fabric of your fanciest dress. No matter how and how often we clean up dust, it always comes back. As a companion of all living things, it reminds us of the future: death. Or better: the continuation of life in another form. A vision in which the rest of my body is united with the rest of a table edge and a sock. Under the microscope, we can see the diversity of dust particles floating through the air like stars through space, until they finally sink down on surfaces, almost weightless knitted fabrics, woolly mice, mutzes. Later we find inside the vacuum cleaner bag: the dirty, grey and small archive of our everyday life. Who and what does it consist of? Do great feelings also become dust in the end? How can the decay be traced back? Who is responsible for it? Yes, exactly, who actually cleans this theatre and what does it all have to do with the operetta?
In electromagnetic operetta costumes, äöü presents a piece of theatre development in the large vacuum cleaner bag made by " Black Box" about the very big questions of form and content, life and death, paid work and gender, magic and engineering, theatre and performance theatre.

 

Konzept & Performance: äöü (Patricia Bechtold / Johannes Karl)
Spezialeffekte & Performance: Carlos Franke
Performance: Sarah Wessels
Bühne & Kostüm: Eunsung Yang
Dramaturgie: Franziska Schneeberger

 

  • Performance
  • Festival - MADE FESTIVAL

09.06.2022 • KASSEL KULTURHAUS DOCK 4 – Studiobühne Deck1 • 20h00
30.06.2022 • DARMSTADT THEATER MOLLER HAUS • 20h00

 

 

Aus dem Innenleben eines Staubsaugerbeutels
©Ingo Solms

BANANA ISLAND

Concept, artistic direction, Performance: die apokalyptischen tänzerin*nen
Composition: Sara Glojnarić
stage design and costume: Lea Steinhilber
artistic production: Produktionsbüro schaefer&soehne
Assistence: Silinee Damsa-Ard, Sophia Sadzakov
Arstistic assistance: Sarah Bongartz, Margarita Ovsienko

 

  • Performance
  • Tanz

 

BANANA ISLAND
Credit: Julia Schäfer

Bookpink

Birds: They dance, fight and dream of Baroque songs. "Bookpink" - in low German chaffinch - written by Caren Jeß is consisting of several mini scenes around bidrs. The dirty peacock (he/him) writes his memories, the white pigeon (she/her) feels imprisoned on the camping area and the marsh tit (he/him) questions the male gender. 13 birds who actually are natural free creatures are caught by different circumstances, e.g. gender norms, the supposed wrong birth place or a glass case. On the BOX-stage the attempt of a re-start hatches out.

Language of the play is German.

 

Tanja Merlin Graf (performer), Lotte Schubert (performer), Leon Bornemann (director), Vincent Krafft (stage), Lucia Bushart (costume), Mia Germer (dramaturgy)

 

  • Performance
  • Final piece

Boys* in Sync - Happy Vineyards

In Happy Vineyards, four friends from Denmark, Poland, Norway and Germany reflect on the most German theatre play ever. „Der Fröhliche Weinberg“, written by famous theatre author Carl Zuckmayer and published in the same year as Hitler’s Mein Kampf, is set in 1921, a time of political instability and the rise of far right movements. 100 years later, the artists take the play as a starting point to rage about the current political situation and todays theatre.


With: Jakob Schnack Krog, Simon David Zeller, Ragni Halle and Gregers Kroksleiven-Hansen. Outside Eyes: Naja Schønemann und Jay Tebogo Fiskerstrand.


  • Performance

http://www.boysinsync.com


Performances

  • 19.03.2022, Gaskessel Bern im Rahmen des BeSTival Bern
Boys* in Sync - Happy Vineyards
©Svenja Polonji


Condition Report

Formal gestures, calculated routines, dialects, a certain way of speaking—personalities are in many ways a form of semantics. The character Roberta Breitmore demonstrates this very clearly: originally developed by artist Lynn Hershman Leeson and embodied over a ten-year period, she is an invented character, but by no means fictional. As the title suggests, “Condition Report” is an inventory and condition report of this myth, from Roberta Breitmore’s introduction in 1973 to her death in 1978. The work does not approach her psychologically, but rather understands Roberta Breitmore as a score: material data, such as her reception, aesthetic and haptic impressions, (artistic) intentions, and material semantics, are processed into a script. Strictly speaking, all manufactured materials tend to self-destruct sooner or later. They strive to reach the state of lowest energy. “Condition Report” updates Roberta Breitmore and formally adopts her vocabulary of movement. “Condition Report” can thus also be read as a reflection of contemporary approaches towards identity (or identities), alter egos, poses, and images of the self and others.

 

Lena Appel, Rachel Ashton, Anneliese Ostertag, Amina Szecsödy

 

  • Installation
  • Film

 

Performances

  • 06.05. - 15.05., Festival der jungen Talente, Frankfurter Kunstverein
Condition Report
©Arthur Stachurski

cuteness won't save you

We used to listen to this song when it was still dark outside:

And I work and I work all day and night
I wonder if I’m ever gonna get it right
I push and I push to get ahead
I know I gotta make my daily bread
I know I don’t have time to lose
I wonder if I really have time to choose
I barely have time to shed a tear
I hardly have time to shake the fear

And the body says: Remember you gotta breath! […] Take your time to grieve!
The mind says: Let the silence flow! […] Allow yourself to grow!
The spirit says: Cast your eyes above! […] Fill your heart with love!
The heart says: Seek the light within! […] Let the dance begin!
And my mother says to me: Enjoy your life!

– Beverly Glenn-Copeland

 

a dancing solo by Carina Premer
in close collaboration with
Darío Bardam
Katja Cheraneva
Ida Daniel
Rahel Kesselring
Anneliese Ostertag
Laura Stellacci
Zrinka Užbinec

 

  • Performance
  • Tanz
  • Premiere
  • Abschlussstück (Carina Premer)

 

Supported by Hessische Theaterakademie (HTA) and the Institute for Applied Theatre Studies in Giessen.

 

Performances

  • 02.06.22, 9pm, Frankfurt LAB Schmidtstrasse 12 60326 Frankfurt am Main
  • 03.06.22, 9pm, Frankfurt LAB Schmidtstrasse 12 60326 Frankfurt am Main

 

cuteness won't save you
Credits Image: Rahel Kesselring

DANCE FLOOR 2022

Welcome to the capitalist ruins, dear tourists! 
Bring some sun protection, cause we will sweat in the middle of the arena of a former socialist luxury hotel. Haludovo Palace Hotel and the dance floor have been waiting for you and us all. Let's come together next to the blue blue sea to listen to our glory holes accompanied by a feminist music album: 700WET risks juicy sounds to seduce our missing libido in pandemic and capitalist ruins. 
Let's stay with the ruins, be wet and weary, silly and horny, angry and depressed. Now and then. 
Yours truly, 
the self-organized stage creatures 

https://frankfurt-lab.com/en/home/dance-floor-2022 
https://frankfurt-lab.com/en/home/dancefloor-2022-common-ground 
tickets via: dancefloor2022@gmail.com

 

With the support of: Ministerium für Wissenschaft und Kultur Niedersachsen, Stiftung Niedersachsen und Kulturamt der Stadt Frankfurt/ Main 
Funded by the Frankfurt LAB - Emerging Artists Program 2022, with the kind support of the Crespo Foundation and the Stiftung Polytechnische Gesellschaft Frankfurt am Main as well as the BHF BANK Foundation and the Adolf and Luisa Haeuser Foundation for Art and Culture Care. 
Thank you to Andrea H. Catalá, Damir and Sandra Dorčić, Haludovo Palace Hotel and all the tourist that witnessed our rehearsals


Concept + Performance: Ana Dubljević, Kasia Kania, Marja Christians
Music: 700WET / Marja Christians + Cid Hohner
Dramaturgical support: Zrinka Užbinec
Light design + scenography: Carina Premer
Conceptual support + production assistance: Liesa Harzer
Production: Marja Christians / Tender Fights Productions


further Performances

  • April 13, 8.30pm, Frankfurt LAB
  • April 14, 8.30pm, Frankfurt LAB

 

DANCE FLOOR 2022

DAS ERGEBNIS! Die Wahl der Nicht_Wahlberechtigten

The results are announced! 
On the 10th of July 2021 the election of the non_eligibles to vote took place right in the center of the market place in Giessen. Regardless of gender, race, language, income or property, profession, status or class, education, confession or political conviction, all people who are usually NOT allowed to vote in Germany, could vote AGAINST one party with their electoral participation. 
Be curious about the results of the election and the speeches of our guests!


KiZ, Südanlage 3a in Gießen


eine Kunstaktion von Melina Brinkmann


  • Exhibiition
Performance
  • Friday, 8. April 17:00-20:00 h 
  • Saturday, 9. April 14:00-20:00 h 
  • Sunday, 10. April 14:00-20:00 h


 

DAS ERGEBNIS! Die Wahl der Nicht_Wahlberechtigten
©Melina Brinkmann

Dating a Forest

If Parship, Grindr und LoveScout24 are currently not enough for you: come and join "Dating a Forest". Nur du und der Wald. Im Juni in Offenbach am Main.

A site-specific AudioDate for one spectator and forest.

The forest is many things in Germany: a nostalgic place and a counter-narrative to urban life, a financial resource, a patriotically charged symbol, a place for leisure and recreation, an essential ecosystem. What would it be like to have a date with this forest? Just you and the forest, in the middle of the city. Maybe it will be romantic, maybe you’ll just have a good time, maybe you’ll realise that it’s not really a good fit after all. In “Dating a Forest”, performanceduo PINSKER+BERNHARDT invites you to make new connections with the forest and to merge with each other. And – as in any good encounter – to dispel misconceptions. How can you meet the forest in such a way that you take it seriously as a partner? Whether the date ultimately turns into something more is up to you.


Konzept und Umsetzung: PINSKER+BERNHARDT (Janna Pinsker und Wicki Bernhardt)
Sounddesign und Mastering: Antonia Alessia Virginia Beeskow
Ausstattung: Martha Pinsker
Dramaturgische Beratung: Sumana Roy
Assistenz: Maria Werner
Produktion: Jeyan Kültür
Interviewpartner*innen: Daniel Cremer, Sophia Klink, Johannes Litschel, Therese Palm, Sumana Roy
Praktikantin: Lindita Bucher
Stimme für Therese Palm: Clara Reiner
Vielen Dank an: Elisabeth Sophie Maubach


  • Performance 
  • Audio work / radio play
  • AudioDate
  • Final piece

     

     

Free entry


The following dating slots are available (duration of 1 Dating-Slot is approx. 65 minutes)
Thu, 9. June 2022: 5-9pm
Fri, 10. June 2022: 4-8pm
Sat, 11. June 2022: 2-8pm
Sun, 12. June 2022: 12-4pm


Dating a forest
©burning housewifes


d-escounder

Over the period of a year, we have pursued a weekly online practice to reinterpret digital conference settings, as spaces of freedom of imagination. A game of hiding behind sight, to retrieve unexpected perspectives that can bring us closer together, by moving us apart in space. Participants from various professional and personal backgrounds were invited to experience the practice with us.
Drawing each-other, allowed us to share soundscapes, temperatures and memories, regardless of appearance or skill.

With the collected drawings we will now build an actually walkable platform.
Offering space for reflection, outlook and present encounters;
a gathering with the (virtual) presences of all those who contributed to this shared space.

We invite you to carefully set foot on the many faces and listen to where their gazes take you to.

 

Josephine P. Rudolph, Kanade Hamawaki, Mara M. Kirchberg, Nina DeLudemann
Carolina, Marina, Carlos, Fernanda, Harald, Xavier, Bojana, Max, Sibylle, Asia, Jacyan, Chrissi, Ira, Tomke, Yinfu, Melina, Sven, Jean-Noël, Kai, Olga, Josh, Anette, Cornelia, Petra, Frédérik, Gerko, Merthe, Li, Esther, Martina, Bernhard, Jörg, Ottjörg, Sunan, Linda, Conny, Amélie, Patrick, Katja, Mattef, Raphael, Jannis, Luca, Mona, Justine, Paula, Eduardo, Fabian, Barbara, Maja, Nicolas

 

  • Performance
  • Installation
  • Final piece

 

Performances

  • 22.05., 15.30 Uhr, PB2 Schiffenberger Weg 115 35394 Gießen
  • 23.05., 10.00 Uhr, PB2 Schiffenberger Weg 115 35394 Gießen

d-escoundering

a game of hiding behind sight, to retrieve unexpected perspectives that can bring us closer together, by moving us apart in space. 
we care to reflect notions of public: how sustainable are encounters between participants of a performance? As public spaces became inaccessible, we began investigating digital conference settings for their possible reinterpretation as spaces of freedom of imagination. How can they be inhabited in a way to offer communion? 
We found that drawing each-other, allows us to share soundscapes, temperatures and memories, regardless of appearance or skill. 
After a year of weekly encounters, we now invite people to take part in a session of this online practice with us. I reassure that it is not our intention to expose anyone, or create any compromising situations. 
We invite you to experiment, take this time and in the most candid sense: enjoy the company. 
Each session takes about 60 min. and will happen on Zoom


Kanade Hamawaki
Mara Kirchberg
Josephine Pascale Rudolph
Nina DeLudemann


  • Peformance
  • Online Score
  • Final Piece


further Performances

  • 29.03., 18-19h 
  • 05.04., 10-11h 
  • 07.04., 10-11h 
  • 12.04., 14-15h 
  • 12.04., 18-19h 
  • 14.04., 17-18h
  • 14.04., 18-19h 
  • 18.04.,16:30-17:30h

 

 

d-escoundering
©Nina DeLudemann

different rooms

  • Concert
  • Premiere

More information about this event…

 

Jonas Harksen, Ariana Battaglia


  • Concert
  • Premiere

 

Performances

  • 06.03.2022, Naxoshalle Frankfurt


DURSTIG

in German

 

Emma Hütt, Miriam von Kutzleben, Tina Muffler, Ricarda Hillermann, Lucas Guigonis, Anna Schill, Judith Bethke, Rosanna Rotach, Eva Budniewski; dramaturgical supervision: Antonia Zeich

 

  • Premiere

 

Performances

  • 02/08/2022, 8.30pm, Performance Lab
  • 02/09/2022, 8.30pm, Performance Lab

Ende ohne Anfang (UA)

Director & Choreography: Felix Berner
Composition: David Pagan
Features: Nanna Neudeck
Puppets: Rebekah Wild
Dramaturgy: Winnie Karnofka & Maria Obermeier
by and with: Alida Bohnen, Luise Audersch, Sofiia Stasiv, Tobias Amoriello, Denis Cvetković

 

  • Performance
  • Tanz

 

Performances

  • 26.02.2022, Theater der jungen Welt Leipzig
  • 27.02.2022, Theater der jungen Welt Leipzig
  • 03.03.2022, Theater der jungen Welt Leipzig
  • 04.03.2022, Theater der jungen Welt Leipzig
  • 24.03.2022, Theater der jungen Welt Leipzig
  • 25.03.2022, Theater der jungen Welt Leipzig
  • 28.04.2022, Theater der jungen Welt Leipzig
  • 29.04.2022, Theater der jungen Welt Leipzig

Happy Vineyards

  • Performance

 

Simon David Zeller, Jakob Schnack Krog, Jay Tebogo Fiskerstrand, Ragni Halle und Gregers Kroksleiven Hansen

 

Performances
  • 03.06.22 Thalia Theater Hamburg (Spielort: Wiesendamm 26), 14:30h, Körber Studio Junge Regie; 60min
  • 22.& 23.06.22 Experimentiertheater Erlangen, ARENA Festival Erlangen; 60min

 

Happy Vineyards
©Svenja Polonji

ich will nach gar nichts schmecken außer nach dir


a Film by Eva Kirsch and Max Smirzitz
with Amélie Haller, Carla Wyrsch, Caterina Pfeffer, Frithjof Gawenda, Herbert Graf, Luis August Krawen, Marita Landgrebe, Maximilian Paier, nikolas Stäudte, Noemi Spano, Roman Kuskowski and Svenja Polonji
with music by La Sabotage and No_4mat
a schön und vielversprechend Production


  • Film

 

Performances

  • 13.03.2022, Schikaneder Wien

 

 

ich will nach gar nichts schmecken außer nach dir (c) Eva Kirsch
© Eva Kirsch

|N73RF4(3

Experimentelles Raumkonzept zur Schwelle

 

Katharina Olt (K4E7HE)
Danke an den Netzwerkschwarm und das Gemeinschaftsatelier Walterpassage für gedankliches Experimentieren, Materialien und handwerkliche Unterstützung
Danke auch besonders an Yasemin Bolat, Valeria Castaño Moreno, Lea Sante, Jones Falkenberg

 

  • Video-/Sound Installation
  • Final piece

 

Dates
~20 minutes, Frankfurter Straße 13-15, 63065 Offenbach am Main
Thursday 09.06.22 7 - 9 pm
Friday 10.06.22 6 - 9 pm
Monday 13.06.22 6 - 9 pm
Thursday 14.06.22 6 - 7 pm

 

Instagram @K4E7HE

 

 

|N73RF4(3
©Katharina Olt (K4E7HE)

Jesse James oder was der Kommunismus war

Concept: Janis Jirotka, Reyhaneh Scharifi, Nguyễn Quốc Tuấn, Shahab Anousha and Linda Jiayun Gao-Lenders / Dramaturgical collaboration and project assistance: Max Mandery / Performance: Shahab Anousha, Linda Jiayun Gao-Lenders and Janis Jirotka / Content and artistic project support: Michaela Jirotka / Videoart: Reyhaneh Scharifi and Linus Kirbschus Gesch / Outside eye: Bini Adamczak, Dan Thy Nguyen, Serfiraz Vural / Translation (Vietnamese): Daniela Khánh Duyên Trần / Research: Reyhaneh Scharifi, Nguyễn Quốc Tuấn, Janis Jirotka, Michaela Jirotka and our interview partners.

 

 

  • Performance

 

Lichthof Theater Hamburg: 

  • Fr 21.1.22, 20:15 
  • Sa 22.1.22, 20:15 
  • So 23.1.22, 18:00 


tak Berlin (Gastspiel): 

  • Sa 19.2.22, 20:00 
  • So 20.2.22, 20:00

Jesse James oder was der Kommunismus war
© Franziska Holz

le grand stade de l'objet a

Warm invitation to the opening of the video installation »le grand stade de l'objet a« by Jean-Noël Lenhard

The connection between image, gaze and identity in the field of psychoanalysis has rarely been explored as constantly as by Jacques Lacan. Like an overall pattern in his theories, he repeatedly shows interactions between identification, veritable mirrors, symbolic mirrors and gazing objects as well as subjects.

The video installation »le grand stade de l'objet a« invites visitors to experience Lacan's theory of the gaze in a playful way: “So you want to see. Well then, see this!”

The installation is apropriate and accessible for all audiences.
free admission

Thanks to everyone who supported me!


Jean-Noël Lenhard


 

  • Installation
  • Premiere
  • Masterpiece
Performances
  • 12. - 14.05., Theaterlabor (Bismarckstr. 24a, 35390 Gießen
le grand stade de l'objet a

 

Mulans 木兰们

Mulan is a well-known female image in Chinese literature. In the earliest written record, „The Mulan Ballad“ (around 386–535 AD), Mulan crossdresses as a man as a stand-in for her old father to go to the battle. 
At the beginning of 20th Century, some Chinese women were encouraged by Mulan’s story and engaged themselves in self-liberation. Through activism and revolution, those women re-wrote Mulan’s story : “Mulan” no longer fights for her father, but for women’s rights and equal social status. There is not only one legendary Mulan, but many Mulans. 
On the other hand, the concept “Mulan Dilemma” describes the situation : Women have to disguise themselves as men to realize their value but are still judged by male-universal standards. 
The solo performance “Mulans” is based on the research of feminism history in China and the performer Yinfu Gao’s self-exploration of the body movements, which opens a dialog between Mulans and herself : How do I emancipate myself as a woman?


Concept & Director & Performer : Yinfu Gao
Dramaturgy : Ana Clara Montenegro, Tanja Höhne, Jannis Wulle, Yunhui Yin
Video Design & Photography : Talisa Frenschkowski
Audio Design : Jannis Wulle
Light Design : Simon Lenzen
Stage Design : Laura Bernhardt
Music : Yinghong Fu
Costume Design : Jinjin Li
Poster Design : Shi Wu



  • Performance
  • Premiere
  • Abschlussstück

 

Performances

  • 30.04.2022, TNT Marburg
  • 01.05.2022, TNT Marburg
  • 02.05.2022, TNT Marburg

 

Mulans 木兰们
©Talisa Frenschkowski

MUTTERWERK

Work by Anna Renner with the support of Olivia Ronzani (scenic accompaniment), Tanja Höhne (dramaturgy) and Johannes Kühn (sound accompaniment).
With Ursula Maurer, Jessica B., Dörthe Krohn, Joyce C., Cathleen, Luciana M., Arzu Ergün-Demir, Moni Schumm and others.

 

  • Performance, Installation

 

Performances

  • 11./12./13.03.2021, more info via

https://studionaxos.de/programm/mutterwerk/

 

MUTTERWERK
© Foto von Tanja Höhne, Olivia Ronzani und Anna Renner; inspiriert von Francesca Woodman.

MUTTERWERK |Geborgenheit

  • Performativer Film

 

KASSEL • 09.06.2022, 18.00; 10.06.2022, 17.00; 11.06.2022, 16.30 • KULTURHAUS DOCK 4 – Zwischendeck und Foyer
DARMSTADT • 29.06.2022, 16.00-19.00; 30.06.2022/01.07.2022, 16.00-20.00; 02.07.2022, 11.00-18.00 • ATELIERHAUS DARMSTADT

 

 

MUTTERWERK |Geborgenheit
©Merthe Wulf

MUTTERWERK | Bestimmtheit

KONZEPT & AUSARBEITUNG • Anna Renner MIT Ursula Maurer, Jessica B., Dörthe Krohn, Joyce C., Cathleen, Luciana M., Arzu Ergün-Demir, Moni Schumm und anderen SZENISCHE BEGLEITUNG • Olivia Ronzani DRAMATURGIE • Tanja Höhne SOUNDBEGLEITUNG • Johannes Kühn
FÖRDERER • Kulturamt Frankfurt am Main, Kulturamt Gießen, Hessische Theaterakademie. Unterstützt von StudioNAXOS.

  • Installation
  • Final piece

 

 MADE Festivals

 

 

Performances

  • 04.06.22, KiZ - Kultur im Zentrum, Gießen
MUTTERWERK | Bestimmtheit
©Merthe Wulf

no hope no love no glory

It's like in the great stories, Mr. Frodo. The ones that really mattered. Full of darkness and danger they were. And sometimes you didn't want to know the end. Those were the stories that stayed with you. That meant something, even if you were too small to understand why.

Gefördert vom Kulturamt Gießen und dem Institut für Angewandte Theaterwissenschaft.

 

Performance by Herbert Graf and Maren Küpper with Licht von Merthe Wulf

 

  • Performance

 

Performances

  • 16.06.202, 1pm, Theaterlabor Gießen

 

no hope no love no glory
©Maria Obermeier

 

no hope no love no glory
©Maria Obermeier

 

no hope no love no glory
©Merthe Wulf

on holes

What if we think of a performance as an anthology? A florilegium. 
What if we opened up our backpacks and looked at what we found there as one big collection? 
What if we went on an expedition and all we did was listen while we waited for something to happen? For something to appear. 
What if we told you a story but weren’t sure which one to tell? 

In the performance ‘on holes’ three performers and one musician, Amélie, Herbert, Merthe and Sara are temporarily getting lost in the mists of time, they let themselves sink deep down into a hole in the middle of the earth where they encounter different creatures, sounds and long forgotten parts of themselves. 

All the while they are remembering that darkness is nothing but a product of our own retina, created by our eyes turning to themselves. 

On the one hand ‘on holes’ contemplates about the notion of the hole as a possibility for fiction(s) to emerge and on the other hand it tries to find ways of how to position our human bodies within a story or rather in relation to what and who we meet down there in the hole. 
___________________________ 


This project is a cooperation of Amélie Haller with Theater neben dem Turm and the MA Angewandte Theaterwissenschaft within the frame of Hessian Theatre Academy (HTA). The research was supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and Media within the program NEUSTART KULTUR).

 

 

A performance from and with:
Amélie Haller (concept, text, performance, objects)
Herbert Graf (performance, objects)
Merthe Wulf (performance, lights)
Sara Trawöger (sound and composition)

 

  • Performance
  • Premiere
  • Master Project (Amélie Haller)

 

Performances

  • 01/09/2022, Theater neben dem Turm Marburg (TNT), 8pm
  • 01/10/2022, Theater neben dem Turm Marburg (TNT), 8pm

O Solitude

state of rehearsal/ open rehearsal

Gefördert vom Institut für Angewandte Theaterwissenschaft
Theatermaschine 22, PB2 Institut für Angewandte Theaterwissenschaft, ca. 35 min
Datum & Uhrzeit tba
performance by Maren Küpper
outside eye and conversation partner: Herbert Graf

Performances
  • 20.06.202, 4pm, PB2 Schiffenberger Weg 115 35394 Gießen

piece for drumset and powerpoint

Every beat a syllable, every syllable a beat. With this method, “piece for drumset and powerpoint“ writes an essay. Using a strangely silent version of karaoke, the text explores the limits of language and understanding – and what might come after. What starts as a text slowly turns into a concert. The stiffness of the powerpoint presentation stand in opposition to the seemingly loose improvisation of the drums. The audience is positioned between those two elements and has to decide which side tells a more credible story. Max Smirzitz constructs a performative arrangement that investigates the intersections of language, rhythm, timing and time.

 

Text, Sound and Performance: Max Smirzitz
im Rahmen des Dramatiker*innenfestival 2022
veranstaltet von Schauspielhaus Graz und DRAMA FORUM, uniT, mit Unterstützung des Deutschen Literaturfonds e.V.

 

  • Performance

 

Performances

  • 08.06.22, 7pm, Vogelsaal Palais Attems, Graz

Reanimationstraining

In this performance, the coming together of people is simulated as an emergency. So we meet to examine our coming together itself.We take apart gestures and positions to reoccupy our memories of a resuscitation training. Between tension and relaxation, unconsciousness and expansion of consciousness, we sound out how we relate to each other and how we might relate to each other differently. A familiar situation becomes a measure with artistic means.
Can we train coming together as a new sport?


"Deepfake Situations" are misappropriations of everyday situations, with the goal of asking about the foundations of how we come together. In contrast to the illusions created by AI, "Deepfake Situations" are about the advancement of human abilities to construct new situations. The "Deepfakes" produced therefore use methods of readymade, intervention, and learning play, among others. "Deepfake Situations" was created at the Institute for Applied Theater Studies, showed various projects in Frankfurt (Main), Mannheim, Bochum, Berlin, Stockholm and Skopje, among others, and consists of Felix Falczyk and Johanna Herschel.


  • Performance

 

The performance "Resuscitation Training" as part of the ARENA-Festival is supported by the Giessener Hochschulgesellschaft.


Performances

  • 25.06.2022, 1pm,  Friedrich-Sponsel-Sporthalle, ARENA-Festival Erlangen


 

Reanimationstraining / Resuscitation Training
© Falczyk/Herschel, Foto: Rolf K. Wegst

Rear Windows

Rear Windows explores the relationship between theatre, liveness, and cinema. It is an experiment in radical cinema that renegotiates the possibilities of interacting with the cinema screen. In the spirit of artist, curator, and writer Ian White (1971–2013) as well as Siegfried Kracauer's partly ethnographic method of critique, which he elaborated in particular in The Salaried Masses (1930), Rear Windows poses the question, how what we see is shaped by what we see it with. What follows is an essayistic reflection on cinema and performance, both as physical environments as well as art forms.

 

With shortfilms by: Peggy Ahwesh, Chantal Akerman, Dominique Gonzalez-Foerster and Klara Lidén
Curation and Performance by: Anneliese Ostertag, Amina Szecsödy und Lena Appel

 

  • Performance
  • Film

Performances

  • 30.03.2022, Filmmuseum Frankfurt

Scores and Found Movements: in the archives of Yvonne Rainer, Lucinda Childs, Trisha Brown and Deborah Hay

In this workshop framework, a score is a blueprint for opening creative pathways of thinking and doing - in terms of dancing. An introduction will be given about the score itself and some artists that work with it: as a framework, a structure, a set of tools, a set of rules, as a script for a performance presentation, as well as an inspiration. We will work both practically and theoretically, conceptualizing scores from specific choreographers as well as activating and embodying them.

Therefore, my approach to scores applies an ongoing research methodology within the notion of the body-archive as the body of dance history - its relation to the tradition of dance based on operations with the appropriation of found movements (Rainer, 1966), one of the central concepts of the American postmodern dance movement (1960-70), taking my re-enactments of four minimalist choreographies as found choreographies: Trio A (Yvonne Rainer, 1966), Locus (Trisha Brown, 1975) Calico Mingling (Lucinda Childs, 1973), and No Time to Fly (Deborah Hay, 2010).

To re-enact those choreographies, I have been applying the post-annotation or video-annotation from Motion Bank Annotation System. The late is the development of the Motion Bank former project that has its roots in two William Forsythe’s projects: Synchronous Object for One Flat Thing, reproduced (2000) and Improvisational Technologies (2012), both working with the Forsythe Company to translate through digital data the choreographic knowledge, and repurpose this information visually and qualitatively.

 

Hochschule für Musik und Darstellende Künste, Frankfurt am Mainz / MA CODE - Master in Choreography and Dance

 

Júlia Abs

 

8.4., 10–13 Uhr and 14–17 Uhr

and

9.4., 10–13 Uhr.

Two days, 9 hours

 

The ATW students are welcome to participate in the workshop.

 

  • Dance

Theatermaschine 2022 | WTF is ATW?

The Theatermaschine is an annual showcase of the works of the students studying Applied Theatre Studies and Choreography and Performance at the Justus-Liebig-Universität Gießen. 

Additionally to a variety of artistic pieces, the Theatermaschine is also known for its festival character. This year's motto is: WTF is ATW?

Together with you, we would like to explore that question and show you what we are working on right now and what characterizes our institute. 

The Showings consist of various performances, films and videoart, music and dance showings, readings as well as installations. 

We hope that this festival manages to create a space for new encounters and that we will experience 5 unforgettable days!

You can look forward to an extensive and versatile program, many showings and parties, concerts and activities at the festival centre.

 

When? June 16 - 20
Where?
Stages of the institute
More info via: https://www.theatermaschine2022.de/

 

 

Theatermaschine 2022 | WTF is ATW?
©Theatermaschine2022

The name of the Piece

Two performers, a writer, and a musician improvise onstage in the abyss that separates words and things, looking for ways to queer language and emancipate bodies from the names and concepts that were given to them. They engage in an ongoing process of building practices to question an anthropocentric approach to language. Theirs is a performance of deconstruction, an exercise in seeing language not as a way to appropriate things (I name, it’s mine) or to prove some human superiority, but as an eternal dialog between ungraspable beings. Within this dialog, worlds/words can be created.

 

Artistic Direction and Dramaturgy: Alice Nogueira
Creative Collaboration and Performance: ana clara montenegro and elena rose light
Sound Design and Performance: Julia Mihály
Light Design, Video Design and Performance: Merthe Wulf
Set Design: J.F. Schmidt-Colinet
Costume: Martin Müller
English Editing: elena rose light

 

  • Premiere
  • Performance
  • Final piece

 

Performances

  • 13.06.202, 8pm,  Künstlerhaus Mousonturm (Frankfurt am Main)
  • 14.06.202, 8pm,  Künstlerhaus Mousonturm (Frankfurt am Main)
  • 15.06.202, 8pm,  Künstlerhaus Mousonturm (Frankfurt am Main)

THESE ARE A FEW OF MY FAVORITE THINGS

Concept & Performance: äöü (Patricia Bechtold / Johannes Karl)
Dramaturgy: Franziska Schneeberger
Performance: Sarah Wessels
Special effects & Performance: Carlos Franke
Stage & Costume: Eunsung Yang
Production: Carina Graf
Tech: Ruth Süpple, Simon Lenzen
Stage building: Simon Lenzen

 

  • Performance

 

Performances

  • March 4, 2022, 20 Uhr, HochX München
  • March 5, 2022, 20 Uhr, HochX München

 

 

THESE ARE A FEW OF MY FAVORITE THINGS
©Talisa Frenschkowski

TRANSFER

February 10-11, 2022  12h-21h  at Institute for Applied Theatre Studies, Gießen   - sound and video installations, performances, interventions -   presentation of projects developed in the seminars Transfer I and Transfer II by Susanna Schoenberg and places where we come togetherby Franziska Windisch 

 

TRANSFER

TRANSFER

Trans Practices for Everyday Life

In Frankfurt, seven people (a choreographer, a dramaturg, and five performers) come together to mine our expertise in being radically ourselves. As trans and nonbinary folks, we wake up everyday ready to thwart reality, choosing to shape our bodies and identities through self-determined improvisation—even in the face of systems that threaten to pathologize or erase us. Ours is a double negation: of the systems that structure life, and the need to inhabit them.
In the rehearsal studio, we develop physical practices out of our unique daily routines. We write, talk, move, sing. One of us bathes in her dance of trying on dresses; another giddily wrestles with his own biceps. We choreograph our own existence, deciding how, where, and when we want to be witnessed. We invite you to do the same


Choreographer/Director: elena rose light (they/them)
Dramaturg: Alice Pacheco Nogueira (they/them)
Performers: Fan-Yu Pu a.k.a. Lady Bubu Tea (she/her), Isaak Kudaschov (he/him), Jiji (they/them), Jonathan Schmidt-Colinet (he/they), Ramona Lena (she/her)
Lighting Designer: Ariana Battaglia (they/them)
Sound Designer: To be announced



  • Performance 
  • Dance
  • Premiere 
  • Final piece

 

Dates

Mousonturm Studio 2
24.06.2022, 8.00 pm
25.06.2022, 6.00 pm
26.06.2022, 7.30 pm
Supported by the NATIONAL PERFORMANCE NETWORK – STEPPING OUT, funded by the Federal Government Commissioner for Culture and Media within the framework of the initiative NEUSTART KULTUR. Assistance Program for Dance.
https://www.mousonturm.de/en/events/trans-practices-for-everyday-life/

Trans Practices for Everyday Life
©Jiji

Traum-Projekt (AT)

Lara-Marie Weine, Laura Bernhardt, Sophie Löbermann, Talisa Frenschkowski, Christina Bausch, Nicole Berns, J. Kathleen Schulken, Luka Modu, Felix Schwarzrock, Simon Lenzen


  • Performance
  • Premiere

 

Performances

  • 19.06.2022, 2pm,  Probebühne im Strahlenzentrum (Leihgesterner Weg 217, 35392 Gießen)
  • 19.06.2022, 4pm,  Probebühne im Strahlenzentrum (Leihgesterner Weg 217, 35392 Gießen)
Traum-Projekt (AT)
©Talisa Frenschkowski


Vergangenheit Vorhersagen — Magazin-Release

Vergangenheit Vorhersagen — Magazin-Release mit Luna Ali und Teilnehmer*innen des gleichnamigen Schreiblabors
— am 3. Juni 2022 um 20 Uhr — Schauspielhaus, Unterhaus

 

With Mari Molle, Raphael Koranda, Inana Othman, Stefanie Rübel, Raphaëlle RED, Luna Ali, Mara Božić, Linda Gao-Lenders, Damon Taleghani, Margarete Groschupf, Simoné Goldschmidt-Lechner

https://www.dhaus.de/programm/a-z/vergangenheit-vorhersagen/#

  • Magazin-Release/Party

WOLVES - I travel in packs

I say to her, ‘Would you like to be a wolf?’ She answers haughtily, ‘How stupid, you can’t be one wolf, you’re always eight or nine, six or seven.’

 

 

By and with: Amélie Haller & Victoria Link |
Composition and sound design: Sara Trawöger |
Video and lighting: Merthe Wulf |
Costume and objects: Kristin Gerwien

 

https://theater-hochx.de/wolves.html

 

  • Performance

 

Aufführungen

  • 02/25/2022, 8pm, HochX München
  • 02/26/2022, 8pm, HochX München
  • 02/27/2022, 8pm, HochX München

 

WOLVES - I travel in packs
©Frank Bender

WIM PT. 4

For Kim, Patti and Ellie. You are my heroines.

Hey Joe. You Hungry baby. But Don‘t call me mad. There‘s a difference, I’m angry.

Tales, thoughts and promises on music I collected when growing up in between rock music. But what if I feel this music was never meant for me? 

 

Concept, Performance, Curation: Jannika Lösche | Outside eye & special thanks to: Kilian Seeger

 

  • Durational
  • Installation
  • Performance

 

Performances

  • 18.06.202, 12-5pm, Bühnchen3000
WIM Pt. 4
©Uwe Lösche