Artists working at TATWERK in our current program series.
»Coffee with Sugar?« is a production between material performance, biographical and contemporary documentary theater. The two materials coffee and sugar define the stage in their most different aggregate states. Starting from them, German immigration stories in Central America and their colonial continuities are investigated.
In the virtual café we show fragments from the work-in-progress »Coffee with Sugar?« and enter into conversation with the audience. From coffee beans and cotton candy, from biographical material and historical sources, from video fragments and live music, an impulse for dialogue emerges.
Bring your favorite cup!
A production by Laia RiCa in coproduction with GFP/das wunder. Internationale Figurentheaterfestival. Funded by the Senate Department for Culture and Europe. The research was supported by the Residency Program Schloss Bröllin, Fidena Residency Program and TakeCare Residency/Fonds Darstellende Künste.
You don’t need to be a voice for a voiceless. Just pass the mic.
Su’ad Abdul Khabeer
»Gli altri« لخرین is an acid dialogue, a light and ironic work on the perception of the Other, a revealed scenic device that moves in a hybrid territory: banal, vulgar and direct images and songs alternates with stories rooted in the depths of our western mentality and identity. An irreverent game about colonial heritage that reverberates our tradition and our contemporary scene.
In subtle balance between fiction and reality, »Gli altri« لخرین exposes the device of power that underlies the orientalist representation of the Other starting from the representation par excellence, the scenic fiction, which helps to create and strengthen the narratives of the
present through the insertion of another body, of a presence that exposes itself to the public, trying to adapt to a representation always crooked, never adherent, always wrong. A voice-over comments, gives instructions, remembers limits and modalities of its pre- feeling in front of us, the audience, the first recipient of the representation and an integral part of the game.
In a succession of auditions that cross several spectacular genres, from cinema to docu-fiction, passing through classical theatre and advertising, »Gli altri« لخرین reveals the machine of representation and identity creation: an exploded set that exposes itself to the public, a founding witness and dramaturgical element of this performative work that actively participates in the construction of the final narrative.
Thanks to a device that mixes fiction and reality, autobiography and bio-fiction, testimony and invention, »Gli altri« لخرین wants to reveal the colonial paternalism hidden in our societies and, at the same time, reaffirm the right to its necessary presence on stage.
Semi-finalist project at Scenario Award 2019
Supported by Zona K, Circuito Claps, mare culturale urbano, Qui e Ora residenza teatrale, Macao, Cox 18, BASE Milano, Santarcangelo Festival, TATWERK | Performative Forschung
How can immaterial heritage become a tangible inventory? In this work we gather around three individual experiences, perspectives and histories. With a critical eye B.EEF develop a performative-installation piece in which bodies, memories and objects are inventoried through ritual practices. Based on the thesis that our bodies and minds are mobile, finite archives, we want to capture the knowledge of our family histories and memories through a practice of self-inventorying, critically enacted through performative rituals that provide insights into our lives and pasts. "Self-inventorying” means to draw an awareness from within oneself, with regard to one's own history.
Rituals of the performative self-inventorying by B.EEF is supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media.
A porous landscape out of moss and concrete, within porous bodies. Bones, bubble wrap, crack. Voids and pores open up, have always been open. They make the landscape and the bodies fragile. Make them tremble in their vulnerability and their rage. And yet, they make the landscape and the bodies permeable: In the voids, the boundaries between inside and outside diffuse. The bodies become part of the landscape, the landscape part of the bodies. What can grow out of this?
The multi-media choreography physical prospects explores the resistant potential of the porous and precarious with body, sound, and installation. physical prospects uses porosity as an aesthetic analogy for the precarious. The choreography approaches precariousness, a basic bodily condition, and precarity, an immediate social and economic threat or the scenario thereof:
Because human bodies are vulnerable, human life is fundamentally precarious. Berlin 2021 - even if we share this dependency, it hits us differently: it tears open gaps of varying sizes between the omnipresent expectation to somehow get along and the social and economic reality that makes that systematically impossible. The dystopia of the present - capitalism, climate crisis, and the like - culminates into a precarious, porous structure that is always threatening to collapse.
How can resistance find a place in the voids of precarious and porous circumstances? How can we find resistance in the spaces where vulnerability and anger meet? Anger at the expected but unacceptable conditions - vulnerability as a radical mode of interaction. physical prospects is a manifesto of the fragile and permeable. In the artistic modes of production and the shared moment with the audience, physical prospects invites into the hollow spaces of a counter-design - a feminist utopia?
With the support of: TATWERK Berlin, Theaterhaus Mitte und Tanzfabrik Berlin.