Artists working at TATWERK in our current program series.
It seems the world is ending / this you’ve noticed oft before / have you considered that you’re spending far too much time indoors?
With levity and sincerity, »Death’s Cabaret« invites you to toast the end of the world as you know it. A playful combination of absurdity and decadence, this intimate spectacle features one of the Four Horsemen of the Apocalypse, Death, who has decided to take a little break from being a Messenger ushering in The Last Day.
This darkly funny, electric new play with music features a satirical spin on the Apocalypse and asks, »What comes after [at] the End?« Imbued with magical realism, Death’s Cabaret imagines the Horsemen as a well-acquainted cohort who, through the millenia, have come to know one another’s scandals and secrets, proclivities and guilty-pleasures. Bask in a moment of folly as your emcee, Conquest welcomes you to a lively soiree that interweaves the musical stylings of War and Famine in support of Death’s infamous showcase.
Bring your doubts, fears, bubbly and charm as the Apocalypse is suspended in a decadent spectacle.
Creators and performers, Lori Baldwin and Aaron Reeder, illuminate the narratives of these apocalyptic horsemen, interweaving historical and contemporary issues while investigating fear of the unknown. In these unprecedented times, »Death’s Cabaret« offers a perspective of transition. Is this THE END-- of life, of war, of lack, of policing?
Funded by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media. Death’s Cabaret is presented in cooperation with TATWERK | Performative Forschung. With friendly support of Checkpoint Guitars, Schaubühne Berlin, MotionLab.Berlin, Noisy Store, BIMM Institute Berlin, Theaterhaus Mitte, Ernst-Haeckel-Schule, HAU - Hebbel am Ufer.
»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.
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.
From the meetings that could be improvised, from the incongruities that corona left us, from the icy silence of last winter and from the imperative need to mask ourselves so as not to suffer denial, “El Klub” was born in the atelier.
On this occasion Tatwerk lets us open the portal and stream in program format.
For the joy and bewilderment.
Interrupted stories of eroticism
Ailín Formia & Federico Vöcks de Schwindt
Petit Konzert, at the time
Looking for an end
Ailín Formia, Federico Vöcks de Schwindt & Gabriela Turano