Ingmar Bergman's film comedy Secrets of Women portrays the happening of a summer holiday: A group of women that are all married to members of the same family are expecting the return of their husbands in their summer houses. In order to pass time, each one of them beginns talking about a specifix moment or their relationship.
Premiere: 5th October 2019 at Staatstheater Karlsruhe
Photo: Felix Grünschloss
Opéra comique in four acts. Libretto by Henri Meilhac and Ludovic Halévy based on a novel by Prosper Mérimée.
Premiere: 7. April 2018 Konzert Theater Bern
Europe, at some point in the not too distant future: Nationalism and fascism have permanently established themselves on the decaying continent. A woman in her thirties is applying for a reality show whose participants are flying to Mars to build a new society. However, this seemingly last resort, in face of the increasing threat, is only available under certain conditions: to ensure propagation on the alien planet, the rocket can only be entered together with a partner …
After Es sagt mir nichts, das sogenannte Draussen (play of the year for 2013) and Und dann kam Mirna (Mülheimer Theatertage festival in 2015), Sibylle Berg’s 21st century anti-heroine prepares for her intergalactic exit and more or less enthusiastically takes up the search for a partner.
Premiere: 24/September 2017 at Maxim Gorki Theatre Berlin
How much courage does it take to stand up for your own ideas and needs and to realise them irrespective of society’s idea of what is ‹right› or ‹wrong›? ‹Pink for Girls & Blue for Boys› is a dance performance that deals with the gender question – great for young and old alike from 8 years.
The more they are together, the more they feel alone. A performance about the tireless fight that something should happen in life. And the disillusionment that if something happens, then it’s not been the right thing. That the more you want to experience the less you experience. A performance that is trying to understand what drives people and how can we engage. A performance with three people who want to engage together. Who believe in the strength of being ‹together› and who finally fail in that wish or that attempt.
Empire of Illusions is a critical Performance about an amazing human phenomenon: the ability to deceive oneself. The ability to truly believe that something is true, although we know that it is not. Illusion is a place of refuge where you will find anything you need. Or everything you think you need.
Most people demand much more of themselves than what they can deliver. More wealth, more knowledge, more skills, more courage, more time, more talent, more clarity and more power. In order to come to terms with yourself, you can deceive yourself into satisfaction. A good strategy is to compare yourself with other people who have achieved less than you. Create your own ‹ego-boost› by noting that the neighbour has a smaller home, a colleague has published less than you or a brother has married an uglier woman.
The principle theme of the Swiss/Israeli co-production ‹When you’re dead you’re done› is the pleasure culture. In a world that is constantly threatened by war (Israel) or economical and environmental crises (western Europe) people turn easily to hedonists. They want to enjoy intensively what s left to be enjoyed because now it is still possible. Behind this hedonistic behaviour hides a great fear. The fear to lose something. One’s life, for example, or one’s way of life. When you’re dead you’re done is a research about how the different fears in Israel and Switzerland lead to different forms of hedonistic behaviour. Because the fundament of this behaviour is fear, the joy that grows from it- is very fragile: any moment the enjoyment could end.
Lets say. ‹I Am A Dancer›. And now try to repeat that sentence for about an hour. See if content and thought changed. What is it? Why is it important? A frame. Does it make things clearer? Or more confusing? The freedom to choose different professions and identities is often a reason for insecurity and doubt. The overload of choices creates a kind of stagnation. The inability to choose forces the body to rest. In that way ‹Duet For Two Dancer› poses questions about ‹being a dancer› as well as ‹not being a dancer›.
‹Sofort geniessen›. If 30 years ago enjoyment was a reward for hard work, now we need it like the car needs its petrol. Pleasure drives us. We are the generation of pleasure. Our enjoyment is essential. Our pleasure lives from the constant change. But the more we base our lives on the hunt for the ultimate pleasure-kick, the paler the experiences seem to be. Here is our doubt: ‹Is the sun really so uniquely beautiful, as it was promised my Lonely Planet? Is sex with Beate, Klaus, Hans truly more breath taking than the one with Karin, Max, Murielle or John?› My partner falls from the sky and dies – or no, he doesn't die, he just injures himself so I can help him and I enjoy helping. Sofort geniessen – about enjoyment, abandonment and the fear not being able anymore to enjoy anything
A performance research about the panic that something should finally happen in life. And the disillusion that the more you want to experience, the less you experience. <Out of Proportion> is a collaboration with Nina Glockner and Jelte van Andel. The performance was further developed in 2014.
A Project on the necessity of rage. Jeder kann wütend werden, das ist einfach. Aber wütend auf den Richtigen zu sein, im richtigen Maß, zur richtigen Zeit, zum richtigen Zweck und auf die richtige Art, das ist schwer. – Aristoteles
We thought we have to dye our hair pink. We thought we have to run around, scream as loud as we can and then stop. We were naive. We thought, we can be observers, scientists. And take a distance. We could.
What do we see when we listen? What do we imagine? What is imagination and how does it appeal to us? Music is the starting point of this Performance. The piece of music is composed by Giovanni Bottesini 1821–1889. It is the third part (Allegro) of the concert No. 2 in B minor for Double Bass and Orchestra, played by Edgar Meyer and the Saint Paul Chamber Orchestra. Bottesini’s music is virtuosic and melodic. The concerto No. 2 is surprisingly optimistic and within only five minutes it shows a whole range of different dynamics. The doubts, the euphoria, the all and the nothing.
An approach to seeing what we hear, to hearing what we see; to explaining what we hear, to understanding what we hear, to changing what we hear and to understanding what happens when we don’t hear or see anything. When we understand that there are so many ways of listening and watching something, how can we find out what we see or hear ourselves? How do we translate what we hear or see into thoughts?
The daily events took place in a single space, which gathered evidence of the diary as the week progressed. Each performance event stands on it s own and also works as an on going investigation for returning audience members. The events are playful and experimental and focus on the relationship between audience and performers.
This is my last dance
This is my last dance
Duet For Two Dancers
Duet For Two Dancers
Pink For Girls & Blue For Boys
Pink For Girls & Blue For Boys