program

Space may be the last unexplored country left to dream of. But are we not already much more closely connected to space than we think? No Man’s Land is a science fiction thought voyage inviting its audience to drift away in a room of lights and loudspeakers.

Space may be the last unexplored country left to dream of. But are we not already much more closely connected to space than we think? No Man’s Land is a science fiction thought voyage inviting its audience to drift away in a room of lights and loudspeakers.

Verena Billinger’s and Sebastian Schulz’s performance takes on sharing in both senses of the word. What connects, what divides us? How may we communicate ourselves, especially on stage? Geteilter Abend is a search for traces, for the gaps in the narrative, the cracks in one’s own portrait and the fractures within the allegiances of a group or generation.

Space may be the last unexplored country left to dream of. But are we not already much more closely connected to space than we think? No Man’s Land is a science fiction thought voyage inviting its audience to drift away in a room of lights and loudspeakers.

Verena Billinger’s and Sebastian Schulz’s performance takes on sharing in both senses of the word. What connects, what divides us? How may we communicate ourselves, especially on stage? Geteilter Abend is a search for traces, for the gaps in the narrative, the cracks in one’s own portrait and the fractures within the allegiances of a group or generation.

There is little that is unheard-of, little unimaginable horrors left in our times. Yet the crimes of the Islamic State against Yazidi women in Northern Iraq is among those. In LICHT, a co-production by the FFT and Munich Kammerspiele, director Tea Tupajić invites Yazidi women to report what happened during those crimes – exactly as they remember it.

There is little that is unheard-of, little unimaginable horrors left in our times. Yet the crimes of the Islamic State against Yazidi women in Northern Iraq is among those. In LICHT, a co-production by the FFT and Munich Kammerspiele, director Tea Tupajić invites Yazidi women to report what happened during those crimes – exactly as they remember it.

from 10 years

When pulk fiktion’s Katharina and Norman were ten, it regularly snowed in winter. That does not seem to happen quite so often nowadays, does it? Both are witnesses to disappearance, and they tell us of changes. Together, they embark on a journey between the sofa, the cooking pot, and the exercise machine.

from 10 years

When pulk fiktion’s Katharina and Norman were ten, it regularly snowed in winter. That does not seem to happen quite so often nowadays, does it? Both are witnesses to disappearance, and they tell us of changes. Together, they embark on a journey between the sofa, the cooking pot, and the exercise machine.

from 10 years

When pulk fiktion’s Katharina and Norman were ten, it regularly snowed in winter. That does not seem to happen quite so often nowadays, does it? Both are witnesses to disappearance, and they tell us of changes. Together, they embark on a journey between the sofa, the cooking pot, and the exercise machine.