photos: Roger Sabaté.
This year’s 75th anniversary of the liberation from the Nazi regime and the end of WWII was supposed to be a big thing with lots of live events and exhibitions and whatnot. Due to the pandemic, most of their program had to be changed and brought into the digital space. It’s great that this was even possible and that the culture workers were able to adapt so quickly. But of course, it feels quite anti-climactic for the culmination of the whole festivities not to be able to happen IRL.
One thing that did happen in the real world came as a bit of a surprise late last night at the pretty empty Pariser Platz. A space that is usually filled with people, even at night, became the sight for only a few eyes of a projection onto the Brandenburger Gate with a simple message: a thank you in the 4 languages of the allies that freed the world from the Nazis.
Have you ever wondered why German lack in a certain sense of Humor? For humor, you need irony and exaggeration. Both skills are not necessarily imprinted in the German DNA. Also for some sort of comedic effect you need things to go a bit wrong. Not apocalyptic wrong like right now in this pandemic of course. Yet in every funny story, there is the right amount of wrong that makes you excited about how the hero*ine might gonna fix the problem.
One this is for sure: that Germans hate troubleshooting. No wonder they are one of the countries with the most insurance and safety measurements in the world. And this cautiousness makes Germans very successful in dealing with big problems (like the one we have right now on our hands).
Especially in winter when the days are short and the light is gloomy, every Berliner wishes to hop on a plane to Bali or at least to South Europe. But all the plane-hopping is surely not so good for our planet and not the best choice if you have a fulltime job and a family here in Berlin.
Exactly 11 years ago on a really hard winter night, a friend of mine brought me to my first SUNYOGA class in Kreuzberg. Afterward, I felt completely exhausted but in the nicest way. Like you had spent a whole day at the ocean. Back then I had never heard of the concept of Hot Yoga and did not know anything about the health benefits and how it would change my life for good.
photos: Anna Agliardi.
In the last decades, Berlin’s international scene has grown widely and multiple talents from different backgrounds enriched the cultural landscape of the city. One of those fresh talents had her Berlin stage debut last weekend and we are more than impressed.
Choreographer Kiani del Valle showed her first performance piece “Las Casas Invisibles” (Spanish for the invisible houses) with her newly formed KDV Dance Ensemble at the spectacular Funkhaus concert stage.
The place which usually hosts concerts and festivals for avant-garde and contemporary electronic music was the perfect setting for the interdisciplinary performance. With a collective of 10 incredibly strong dancers, she created an immersive story that floated seamlessly from childhood memories into the experience of migration, police brutality and longing for connection.
The contemporary Opera “Violetter Schnee” (Purple Snow) is a unique masterpiece of enigmatic music and elaborate storytelling. Together with the Staatsoper, we offer a unique opportunity to see this Opera and bring a friend for free.
Imagine the following scenario: The world covered in thick snow that devastates the land and brings no hope for future generations. In this nightmare, the audience of Staatsoper’s new Opera Violetter Schnee meets 5 people trapped in a bunker under the earth. While above them the world is falling apart the two rich couples Peter and Silvia and Jan and Natascha are tearing each other apart with contradictory ideas on what to do with this surreal situation. The fifth protagonist is Jacques who recently lost his wife. To him, the world has no meaning and so he looks in the deepest fogs of the remains of the world for the voice of his lost wife.
Film and theater premieres are so exciting because you get the chance to see the team behind a production. Therefore we are really happy that we had the great honor to welcome the director of the film Wild Tales Damian Szifron at our Cocktail & Movie Night together with the Staatsoper Berlin.
He is currently rehearsing his first opera production at the Staatsoper: Samson et Dalila. In the course of this, we have planned this event in cooperation with the Staatsoper in order to be able to also show his film work in the opera. The team of Russian Standard and Sierra Milenario has designed two cocktails that embody the Latin American temperament and the incredible energy of the film.
Together with Staatsoper Unter den Linden we have again the honor to invite you and your friends to a unique Cocktail & Movie Night. On the 6th of November, we will first host a cocktail reception at the Kantine of the opera and then show the unique Argentinian movie “Wild Tales” by Damián Szifron at the Alter Orchesterprobensaal.
Wild Tales is putting all the Argentinian spirit for love, sex, violence, and absurdity in six short episodes that reunite in one extremely hilarious plot. No wonder the movie was internationally acclaimed by the critics and the audience. Now nearly four years after Wild Tales was nominated for the Oscar in the category of Best Foreign Language Movie, the director Damián Szifron is making his opera debut here in Berlin at the Staatsoper with his version of Samson et Dalila which premieres on the 24th of November.
photo: Frank Sperling
Do you have a favorite apocalypse? Imagine you could choose between, team atomic war, team climate-catastrophe or team asteroid? Or would you then rather love a real biblical Armageddon-thingy with seven plagues and at least an obese woman pretending to be a dark messiah coming for us all?
The newest dance performance light spectacle by Ariel Efraim Ashbel and friends called no apocalypse not now at HAU 1 is bringing all the weirdest apocalypses to the stage you can imagine. From devastating no man’s land to a world who is formed by black bubbles floating around, the performance collective was able to create with a few simple ingredients a dark, humorous and enigmatic powerplay of images for the audience.
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.
Poland is only a two hours bus or train ride away. Still, the situation for LGBTQI* people could not be more different than in Berlin. The politics of the strictly catholic neighbor country is still holding on moral concepts of the 40s. Assaults and police brutality against members of the Rainbow spectrum became more in the last years. These are issues that queer activist from all over the world are becoming aware of and want to tackle on.