program

The global crises and wars of the present stand in stark contrast to the actually unfathomable: The human species, entirely dependent on the lives of countless other species, functions as a planetary power. Meanwhile, life, connected to a strange, planetary deep time, continues and also proves it can, time and again, regenerate. The injured lizard’s tail grows back. Starting from theatre, the workshop probes for the interconnectedness of global and planetary processes and dares to attempt orientation.

FFT and tanzhaus nrw, in collaboration with the Alliance of International Production Houses, invite you to the Claiming Common Spaces festival! Under the theme Shift the Vibe, you can look forward to four days packed with performances, encounters, parties and discussions.

More than a century ago, “Victory over the Sun” proved too radical for its time and became a scandal. Now, the lost opera returns: As a glittering interplay between sound, bodies, and light. What does this vision of a future from a bygone era tell us about our present?

The global crises and wars of the present stand in stark contrast to the actually unfathomable: The human species, entirely dependent on the lives of countless other species, functions as a planetary power. Meanwhile, life, connected to a strange, planetary deep time, continues and also proves it can, time and again, regenerate. The injured lizard’s tail grows back. Starting from theatre, the workshop probes for the interconnectedness of global and planetary processes and dares to attempt orientation.

In urban neighbourhoods and local networks, a communal art practice emerges. For two days, initiatives from different cities invite you to encounters – at the Secret Shop, for example, and at the Durch unsere Augen film screening, in shared formats and in open exchange spaces.

from 16 years

Considering war crimes and human rights violations, the question for artistic responsibility arises. Less obvious are the effects that hybrid warfare has on the capability for empathy and, in turn, on the foundations of democratic community. What does this mean for theatre that is dedicated to enlightenment?

“Untitled (briefly here bright)” stops time – yet not completely: Marked by life in a moment of continuing violence and destruction, the evening dwells on conditions of exhaustion and tenderness. Dance unfolds in small gestures, in attention and listening – remembering, cautious, patient and introspective. kiana rezvani, born in Western Iran, now living in Berlin, creates a space of memory, grief, and the exertion of continuation.

A ritual sound performance in which three multi-disciplinary artists with diasporic experience weave movement, sound, and poetry into a shared act of vulnerability – a space for the sorrow over injustice and loss, for dedication, transformation, and for joy. Through echo, call-and-response, and emotional expression, the performers invoke the presence of their ancestors and trace fragmented stories and their persisting effects in the diaspora.

The global crises and wars of the present stand in stark contrast to the actually unfathomable: The human species, entirely dependent on the lives of countless other species, functions as a planetary power. Meanwhile, life, connected to a strange, planetary deep time, continues and also proves it can, time and again, regenerate. The injured lizard’s tail grows back. Starting from theatre, the workshop probes for the interconnectedness of global and planetary processes and dares to attempt orientation.

In a two-part talk with participating artists and additional guests, we examine how current wars and conflicts shape and change the self-perception and artistic practices of choreographers and theatre makers. With contributions by Chara Kotsali (Athens), Jaak Prints (Tallinn), Viktor Ruban (Kiyyv), Magda Szpecht (Warsaw) and others.

Zwei Soli, zwei junge Positionen, zwei Auseinandersetzungen mit Ostdeutschland und Osteuropa in den 90er-Jahren. Carena Schlewitt, Intendantin HELLERAU – Europäisches Zentrum der Künste, Dresden, gibt eine Einführung in die Arbeiten von Karol Filo und Mike Dele Dittrich Frydetzki.

In urban neighbourhoods and local networks, a communal art practice emerges. For two days, initiatives from different cities invite you to encounters – at the Secret Shop, for example, and at the Durch unsere Augen film screening, in shared formats and in open exchange spaces.

Anja Quickert published the book Showcase Beat Le Mot – Alles and also authored an introductory essay. The book will come out in the Postdramatisches Theater in Portraits (Post-Dramatic Theatre in Portraits) series of Kunststiftung NRW with Alexander Verlag Berlin publishers.
In conversation with Anne Leichtfuß, easy language translator and interpreter, she will provide a highlighting insight into the works of Showcase Beat Le Mot. Together, they will set the mood for the audience before the Sieg über die Sonne theatre evening.

More than a century ago, “Victory over the Sun” proved too radical for its time and became a scandal. Now, the lost opera returns: As a glittering interplay between sound, bodies, and light. What does this vision of a future from a bygone era tell us about our present?

In a performative intervention, two women with brooms between their legs transfer the practice of sweeping into public space. Based on their theatre work Magic Maids, the Jocson-Perera duo continues their transgression, playfully sweeping out into parks, streets, and, for Claiming Common Spaces, into tanzhaus nrw’s Foyer. In the process, they reveal the charged imagery of the witch as well as of the migrant houseworker. Both closely connected to the broom. Sweeping Sisters asks for the invisibility of care work and celebrates female solidarity.

Anja Quickert published the book Showcase Beat Le Mot – Alles and also authored an introductory essay. The book will come out in the Postdramatisches Theater in Portraits (Post-Dramatic Theatre in Portraits) series of Kunststiftung NRW with Alexander Verlag Berlin. Together with Showcase Beat Le Mot, she will present Alles following the performance.

The end of the world has not yet arrived, just as the End of History has not. The only thing that is for certain: The fun is over! In IT’S THE END OF THE AMUSEMENT PHASE, three electrifying dancers send their audience on a rollercoaster ride of emotions, facts, images, and parades; so intense, it is dizzying.

The global crises and wars of the present stand in stark contrast to the actually unfathomable: The human species, entirely dependent on the lives of countless other species, functions as a planetary power. Meanwhile, life, connected to a strange, planetary deep time, continues and also proves it can, time and again, regenerate. The injured lizard’s tail grows back. Starting from theatre, the workshop probes for the interconnectedness of global and planetary processes and dares to attempt orientation.

The global crises and wars of the present stand in stark contrast to the actually unfathomable: The human species, entirely dependent on the lives of countless other species, functions as a planetary power. Meanwhile, life, connected to a strange, planetary deep time, continues and also proves it can, time and again, regenerate. The injured lizard’s tail grows back. Starting from theatre, the workshop probes for the interconnectedness of global and planetary processes and dares to attempt orientation.

n this lecture demonstration, Claire Cunningham provides insights into her unmistakable movement style “Quanimacy”. She shows how the use, reutilisation, the exploration of and disassociation with her crutches, as well as the conscious departure from dance techniques that were developed for non-disabled bodies, have influenced her artistic practice.

The end of the world has not yet arrived, just as the End of History has not. The only thing that is for certain: The fun is over! In IT’S THE END OF THE AMUSEMENT PHASE, three electrifying dancers send their audience on a rollercoaster ride of emotions, facts, images, and parades; so intense, it is dizzying.

Palace of Memory is a 90-minute participatory event about memory: how it emerges, how it is shared, how it is transformed. The night closes with a DJ set by Peter Wacha aka DJ Upstart, featuring the sounds of Detroit.

Garth Erasmus, musician and visual artist, rose to prominence in the 1980s with his stance against apartheid in South Africa. Today, he connects custom-built instruments with the sounds of the KhoiSan. In 2024, he has formed the Broken String Ensemble, who will perform at the FFT on this evening.

from 8 years

Die Welt ist kompliziert und hart. Leicht zu bleiben, scheint fast unmöglich. Deswegen erschaffen pulk fiktion einen Trainingsraum für mehr Leichtigkeit. Zwei Performer*innen erzählen von der Welt, hebeln gemeinsam gesellschaftliche Kräfte aus und schaffen etwas, das wir alle brauchen: Den Mut zum Trotzdem!

from 8 years

Die Welt ist kompliziert und hart. Leicht zu bleiben, scheint fast unmöglich. Deswegen erschaffen pulk fiktion einen Trainingsraum für mehr Leichtigkeit. Zwei Performer*innen erzählen von der Welt, hebeln gemeinsam gesellschaftliche Kräfte aus und schaffen etwas, das wir alle brauchen: Den Mut zum Trotzdem!

from 8 years

Die Welt ist kompliziert und hart. Leicht zu bleiben, scheint fast unmöglich. Deswegen erschaffen pulk fiktion einen Trainingsraum für mehr Leichtigkeit. Zwei Performer*innen erzählen von der Welt, hebeln gemeinsam gesellschaftliche Kräfte aus und schaffen etwas, das wir alle brauchen: Den Mut zum Trotzdem!

Detroit is based on a true incident from the year 2019: A car accident in Detroit. The memory does not leave Montserrat Gardó Castillo & Petr Hastik. In the virtual GTA world, the collision will be staged repeatedly. Between reality, a game, and the audience, an intense evening emerges about memory and how it changes.

Detroit is based on a true incident from the year 2019: A car accident in Detroit. The memory does not leave Montserrat Gardó Castillo & Petr Hastik. In the virtual GTA world, the collision will be staged repeatedly. Between reality, a game, and the audience, an intense evening emerges about memory and how it changes.

Detroit is based on a true incident from the year 2019: A car accident in Detroit. The memory does not leave Montserrat Gardó Castillo & Petr Hastik. In the virtual GTA world, the collision will be staged repeatedly. Between reality, a game, and the audience, an intense evening emerges about memory and how it changes.

Lioba has been on stages for more than ten years, constantly reinventing herself. By now, she performs in a female trio. On her album Remedy, she tells tales of healing, agency, and relationships.

Everyone knows about it, yet barely anyone has read it. The stories from the “1,001 Nights/Arabian Nights” have been a success for more than a millennium, they are global popular culture, constantly reimagined. Deutschlandfunk turns the stories told by courageous Scheherazade, in the new translation by Claudia Ott, into a contemporary podcast! Now this will be performed on stage for the first time.

Anti Müller is not a romantic novel. It is an unsparing analysis of sclerotic structures and their tender enforcers under whose polished nails still lurks patriarchy’s grime. With great poetic precision, Yade Önder’s narrator dissects the mechanisms in modern relationships as well as those of a supposedly feminist cultural sector.