WE ARE ALL UNICORNS. 5 JAHRE TATWERK
© TATWERK | Performative Forschung
++ Herzlichen Glückwunsch ++ Happy Birthday ++ Všechno nejlepší k narozeninám ++ Bon anniversaire ++ Tanti auguri ++ Felicidades ++ Srećan rodjendan ++ Feliz aniversario ++ hyvää syntymäpäivää ++ 生日快乐 ++ お誕生日おめでとう++ С днём рождения ++ sretan rođendan++ vesel rojstni dan ++ יום הולדת שמח ++ La mulți ani ++ Gelukkige verjaardag ++ Palju õnne sünnipäevaks ++
We are all unicorns!
Half a decade of performative energy - 5 years of TATWERK!
TATWERK proudly looks back on 5 exciting years full of wonderful artistic encounters, creativity and curiosity, inspiring theatre evenings and surprising theatrical research and rehearsal processes.
But also: Congratulations to the diverse, various, unique and unconventional artists* who have filled TATWERK with life through their work, who have sought exchange, rehearsed, researched and developed, and who have been able to support and accompany TATWERK with joy.
5 years of TATWERK, that means 5 years of self-financed work, 5 years a home for 274 artists* and groups, 153 performances, 23 cooperation projects, 22 construction site days and countless productions developed and developed here, 1682 rehearsal days on which artists* work 12 hours a day and 9 performing arts festivals!
We celebrate the past 5 years, and the next 5 years, the artistic daring, the creative curiosity and the utopia with which we step into the future. Celebrate with us a party with drinks, cake and dance and small performance gifts from artists* who have accompanied us on our way.
We are proud of ourselves - and of you!
And that is why we want to celebrate this birthday with a
Performative party with performance gifts from 13 artists* + groups
Friday, 6 December 2019 | 6 pm (admission)
Program from 6:30 pm until after midnight
Performances and party alternate, guests are welcome at any time until after midnight!
6:30 pm reception
from 7 p.m. Performance gifts from: Ana Kavalis (CU, DE), Bilwa (US) & Sigrid Savi (EE) & Annelie Andre (A), derivative - Aurora Kellermann (IT), Evelijn Forrest (NL) & Amelia Emma Forrest (CA), Frederika Tsai (DE), Gabriela Schwab (BR,DE), Lori Baldwin (US), Michiasu Furutani (JP), Nicola Bullock (US), Rilaben - Enrico L'Abbate (IT), spree agents - Munsha (IT) & Susanne Chrudina (D, ČR), Tchivett (FR), Zoe goldstein (UK) & Paul Berberich (DE)
00:00 Highlight at midnight: Celebratory presentation of the birthday cake
The Rainbow Bar is open and CARGO gastronomia offers the finest Italian snacks and meals.
Instead of gifts: donation campaign for the new studio floor! If you want to make the TATWERK happy for its birthday, you can do this best with a donation for the urgently needed studio floor!
Tick-tock the Timeline Clock
Tick-tock the Timeline Clock investigates the learning processes and consciousness of Artificial Intelligence, through set parameters that generate interactions with the audience. Is it possible to consider AI to be anything but in a state of sleep? If so, in what ways is their lucidity trapped in programming algorithms and determined data sets?
Amelia Emma Forrest, Evelijn Forrest
black box - the black tulips of your cosmic womb, that you know nothing about
Womxn turn to medicine everyday for answers and arrive at dead ends, due to the lack of knowledge and research so far made, recognised or funded for women's health issues below the naval. black box is a series of durational performances and a lecture performance inspired by the true story of Evelijn‘s injury and her resilience, the inequality of the medical system and the cervix.
non-touch is a concept/score which explores various points of apparent, although not actual, touch between two bodies; as well as the resulting movement qualities from this micro-focused task. Two dancers perform the task of non-touching, exploring various points where they feel a physical connection, heat and/or other sensations, with their partner; without “actual” touch. While maintaining this micro-focus, the duo also needs to negotiate their entire body, in relation to each other, and the space. Their focus and negotiations, as well as the incidental movements and postures created by this task, are observed by the audience. Simultaneously, sine-tones of different frequencies are panned across two speakers, „meeting“ in different locations throughout the space, causing a beating and phasing soundscape. Conceptually, the sound connects with the movement as the tones are not actually touching; but rather effecting one another within the acoustic space as well as within the audiences‘ inner- ear. The sound is unique according to each auditory location in the space.
Sigrid Savi - dance
Annelie Andre - dance
William „Bilwa“ Costa – sound
Ich möchte mich nicht immer entschuldigen / I don’t want always say sorry (Version 2019)
Diesen Spoken Word Akt habe ich 2018 im Rahmen von Magdalena Festival im Pathos Theater München gezeigt. Es geht um meine eigene taiwanesisch-deutsche Identität(en) und die Lesart der Außenwelt: Als Kind wurde es mir beigebracht, dass ich höflich und dankbar bleiben sollte. Die Entschuldigung sollte ich niemals vergessen. Dieser Habitus führte zum Verhängnis und meine Lebensrealität zwang mich nachzudenken. Heute teile ich mit euch meine Gedanken von 2018 und 2019.
Enrico L’Abbate – RILABEN
Solo Kaiser Pizza
Second sketch of a larger research around identity, perception, stereotypes and a circular event, like a Pizza on a table, a Kaiser in a parliament or a solo human being in between many others.
Residency and first studio presentation at Flutgraben, STADT WF and short residency at Tanzfabrik Berlin in 2018.
How everything still turnst o gold
How do we survive loneliness? An old rock-n-roll star has some ideas. Utilizing poetry, live music, and performance, he reminisces about his adolescence spent listening to music and imagining his future. An exploration that blurs time, reality, and identity, „how everything still turns to gold“ proposes one answer to how to survive loneliness: by dreaming of one day not being lonely.
Zoe Goldstein, Paul Berberich
Zoe and Paul began their collaboration as a performance-duo with ad hoc improvisations on Tempelhofer Feld - Tatwerk will be their latest setting.
It is a dark and glamorous act, a kind of alchemic ritual, like a funeral for our dead selves. The dance is entangled with rotten woven wood, creating a sculptural sacrificial altar, black and shiny substances blend together and pour over in a melancholic body painting moment. The organic becomes mineral, like a starry night sky.
Repetitive Micro Reactions
Is there any possibility of establishing a relationship between organic and non-organic matter? A short dialogue based on a scene of a hot summer.
Box of postcards
Simon remembers. And he finds it increasingly difficult to decide between all the memories. A song comes to mind. Or maybe two.
A woman stands in front of a window: in the world that runs outside, she recognizes projections of her own life. Melancholy. The nostalgic memory of a past that keeps returning.
Lilith ́s Pommegranate
A tasty, wetly, dirty performance, spreading red words and juice all over the space.
Voice in off, text and performance: Ana Kavalis
Oder, ich bin Kampf #1
First experiment for a new project. Almost 20 years ago Carlo Giuliani was shot during the riots in Genua for the G8. About 10 years ago I toured with a performance about political action. Today I start over from a text taken from this performance and observe the same images of protest which sparked that work. I find myself different, older. In Europe, after the silence caused by the murder of Carlo Giuliani a new generation of protester is taking over the streets. I look at them and ask myself: „Am I still able to fight for what I believe is right?“
Aurora Kellermann, Concept and Performance
Susanne Chrudina, Munsha – spreeagenten
Mädchenorchester - Special Edition
Excerpts from the music theatre piece based on the memories of the members of the girl’s orchestra in Auschwitz with voice, singing, cello and electronic music. The wheels of the Auschwitz extermination machinery turn - accompanied by orchestral music. In the only female prisoner orchestra, young women make music on command against the background of unimaginable horror. The memories of the musicians pose questions about the present: What is the power of art in the struggle for survival and for justice?
With Munsha (composition, music), Susanne Chrudina (text)
- 06 December 2019 18:00
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