Bodies in space over time. We are present in this room and also together in this time. What traces will we leave behind?
In his German debut commissioned by Sasha Waltz & Guests, the American performer, author, and director Andrew Schneider and nine dancers of the compagnie embark on a research journey into the simultaneously scientific and mystical fields of quantum entanglement and human entanglement. How do quantum entanglements affect the energy between two human beings? Do events from afar have lasting effects on our togetherness? Is there an explanation for how we ended up right here and now and can invisible forces be experienced?
Andrew Schneider works at the intersection of experience and technology. He is not interested in technology for itself, but in how it can be used to give audiences experiences that they’ve never had before.
Eine Produktion von / A production by Sasha Waltz & Guests. Made in radialsystem.
Foto: ©Carolin Saage
photos: Olga Khristolyubova.
How might the world be like if machines were kings and humans were slaves? If powers were shifted and the automatization would prevail over emotion? In her newest piece Rauschen which premiered last week, Sasha Waltz managed to create a kaleidoscopic dystopian nightmare. The main topic: the struggle of man against machine and the toxic way our society revolves around our egos.
For Sasha Waltz Rauschen is her first piece produced for the big stage of Volksbühne. A stage that has a lot of problematic theater history to carry. But her piece is time and spaceless. It does not need references to be emblematic on its own.
What if the ugly side of our society could be born into this world in flesh and bone? Fear, envy, and aggressiveness become living creatures that torture, kill and feed on all of us? This nightmarish vision is what you can expect from the new avant-garde dance piece Kreatur by acclaimed choreographer Sasha Waltz at Radialsystem.
The Berlin-based choreographer hasn’t show any new dance piece in Berlin for 12 years now and her comeback is highly anticipated but also critically observed. The reason: her future role as director of the Staatsballett Berlin which caused quite some controversy in the last year.
With Kreatur she definitely showed her critics what she is capable of. Showing transgression, darkness, pain without being obvious or superficial. Especially with the amazing costumes by iconic Dutch avant-garde designer Iris van Herpen Sasha Waltz evokes a turmoil of demons and sinners lost in a world of sterility and artificial light.
No One’s Coming, Everyone’s Going!
Peaches is going, Sasha Waltz & Guests and cie. toula limnaios are going, Sharon Dodua Otoo is going, She She Pop are going, Kathrin Röggla is going and many other independent artists and culture makers are going – but none of them are coming.
On July 24, 2020, an enormous festival will take place in Berlin where a stunning amount of artists, ensembles and culture makers working in all discilpines will take part – by not showing up. During the coronavirus pandemic, attendance and physical presence can be deadly. And, exactly because of this, many freelance artists and culture makers in Berlin haven’t been able to earn money for months and can no longer pay rent or buy groceries.
This is why the organizers are turning to you: Show your solidarity! Buy a ticket for Berlin’s (non) festival of the year and don’t show up! By buying a ticket, you can help to ensure Berlin’s one-of-a-kind artistic and cultural landscape still exists after this crisis has passed.
photo: Sasha Waltz & Guests.
It’s been just two weeks since we showed you the cute video of the Staatsballett Berlin dancing from their home. You guys really loved this video, so we thought we could give you a bit of an encore today. In the past couple of weeks, the ballet dancers were not the only once who kept dancing while all shows are canceled and theaters closed. In fact, a lot of contemporary dancers also used the offtime to record some small performances and improvisations.
It’s been quite the adjustment for all of us to suddenly experience things only through our computer stream. It feels like a restriction at first, but as with any new circumstance, people will get used to it and adapt and find new ways to express themselves. Especially for those of us who are used to working in teams, such as dancers who perform with an ensemble, suddenly finding themselves without their teammates might be a challenge. But again, a new experience doesn’t have to be a bad one.
photo: Anna Agliardi.
One of the artistic genres that we as iHeartBerlin have been most excited about in recent years is that of dance and performance theater. We love theater in general, of course, but dance has a special place in our hearts. Maybe because it’s the one thing that creates a bridge between what was historically once our main focus, clubbing, and the world of theater: expression through movement. In fact, a lot of the dance pieces that we cover are heavily influenced by the music and style of the nightlife, which also includes traditional staples such as the ballet.
Now it’s finally here: the new creative leadership of Berlin choreographer Sasha Waltz at the Staatsballett – anticipated by some and criticized by others. And the season premiere of Plateau Effect by Jefta van Dinther could not have been a more daring choice for the first piece of this new era.
The Swedish choreographer van Dinther is well known in the contemporary dance scene and has been often invited to Tanz im August and to HAU theater. His pieces are known for an emotional radicalness and for not caring about the needs and expectations of the audience. Even if his work is acclaimed by critics and the dance and art world, it is not something you would take your granny or even your parents to watch. Many of his pieces are raw, sexual, rough and often accompanied by a soundtrack you would rather hear at Berghain than in an opera house.
photos: Laetitia Bica
What makes a city a radical place? Conflicts and aggression? Melting pots of cultures? Extremity and irregularities? Or a specific energy that runs through the streets of the city like blood filled with adrenaline through human veins? I have never been to Brussels so far, but I heard it’s a special city. On the one hand tons of young passionate idealistic global citizen working for NGOs and the European Union. On the other hand, old-school politicians, lobbyists and international companies doing what they do best: capitalism. In that mix performance, art, dance and theater have a powerful nourishing ground of ambivalence to get inspiration from.
Therefore we are very excited to collaborate as media partners with Radialsystem V for the upcoming dance festival RADIKAL. Featuring over 20 contemporary dancers and choreographers from over 10 countries this festival has a unique program we would like to present to you. Under the patronage of Sasha Waltz on the 3rd and 4th of November eight performances will take place in one of our favorite theater stages in town. We are giving away 1×2 Tickets for Radical Light from Salva Sanchis. More pictures, the trailer and the program after the jump.
For me 2016 was actually a great year, even though I almost don’t dare saying it out loud. A lot of sad and terrible things happened in 2016, yes, but there still was a lot of good stuff that I think needs some more attention: Small and big moments in Berlin that showed what a great city this is and what amazing people live here. We should focus more on these things, at least for a moment, and take these positive memories and feelings with us into the new year.
Here are the most happy moments and amazing happenings of 2016 in photos and videos.
photos: Anna Agliardi
Last night I was honored to be part of an evening of celebration, surprises, glamor and a bit of nostalgia. My favorite off-theater in town, the Sophiensaele, celebrated their 20th anniversary. I can’t believe so many years have passed already since the theater located in a former ballroom near Hackerscher Markt was founded by contemporary dance choreographer Sasha Waltz and the theater makers Jochen Sandig, Jo Fabian and Dirk Cieslak.
The festivities were accompanied by the Berlin premiere of The Greatest Show on Earth by Anna Wagner and Eike Wittrock. This particular show is a celebration of dance and performance art in a circus-like setting. 14 artists show in different ways the challenges facing humans in the 21st century and combine the risks of body art with the spectacle of physical performance.
I was absolutely stunned and surprised by a freaky show between Zombie Apocalypse, Cat Content and Shit-Musical. Every performer had a unique style to communicate with the audience. Some were engaging and entertaining others were disturbing and obscene like the zombie artistics by Vincent Riebeek and Florentine Holzinger. What all had in common was authentic passion for their showpiece. The whole show was supported by the amazing music of the Neo-Dadaist 2-person “thing”-orchestra Les Trucs which certainly ranked as the evening’s favorite between the audience, right after the cat.
Photographer Anna Agliardi took some great impressions of the show, which you can discover with the dates right after the jump.