Something rumbles – it rolls, it flies, it hides, it appears, it becomes light, it sways, it falls, it floats and it rises. Things have weight and (sometimes) a face. OH! Suddenly there I am, there is a thing, and you, and us: together, here! Between lightness and gravity, two puppeteers come into contact – with each other, with some marbles, magnets, a theatre curtain, with light and slats, a wall and feathers. Full of playful joy, they invite you to watch, encourage you to encounter gravity and celebrate theatre as a place of wonder together with the young audience. (Age 2+)
“Altes Klaver”“Federn”“Große Kugel”“Filz”
Credits: Direction – Julika Mayer // Scenography and lighting design – Joachim Fleischer // Music – Johannes Birlinger // Dramaturgy – Maria Obermeier // Drama Pedagogy – Fee Kristeit // Performers – Clara Fritsche & Sven Tillmann
“A piece of glass has lodged itself in Kay’s eye and won’t come out. It clouds his vision and turns the boy’s heart into a lump of ice. Brrrr, the world becomes cold and Kay becomes a jerk. Yuck, roses! Yuck, nice people! Kay even becomes terribly mean to his dearest friend Gerda. When he sets off one day with his sledge and doesn’t come back, no one mourns him. Except Gerda. She doesn’t give up on her friend and sets off to drive the cold out of his heart. Andersen’s THE SNOW QUEEN is rich in motifs and intricate narratives. It is a story that deals with the impending loss of friendship and the power of not giving up on each other with great imagination. The Theater Der Jungen Welt takes up the fairy tale with lots of artificial snow and confetti and asks which ice this story can melt in these times.” – www.theaterderjungenwelt.com
“Reise In Den Norden”“Prinz & Prinzessin”: Lyrics by Benedikt Grubel. Vocals: Ensemble. Recording: Veit Kirsch.“Die Welt Wird Kalt”: Lyrics Benedikt Grubel. Vocals: Ensemble. Recording: Veit Kirsch.“Im Räuberwald”“Lied Der Blumen”: Lyrics Benedikt Grubel. Vocals: Ensemble. Recording: Veit Kirsch.
The situation is not unexpected, yet it remains incomprehensible. We have always made such an effort to understand everything and to make ourselves understood. We have expanded our multilingualism or – for better understanding – discarded it. We have studied your books and eaten asparagus with you. And we have told you about our grandparents’ fig trees.
We have written books and taken to the stage. We have become migration researchers and diversity agents. And now we stand here speechless. Perhaps we have run out of words. Translating in the Afro shop and at the immigration office. Perhaps your words simply became too empty for us. Like the promises we made to ourselves. And now we ask ourselves: Was it a misunderstanding, a translation error, or did we talk past each other from the very beginning?
Hä?! is an evening about understanding and misunderstanding in a migrant society and the question of how we can hold on to all the achievements of recent years despite the shift to the right and the backlashes. We dare to take a self-critical look at our concepts of diversity, while at the same time doing everything we can to ensure that many can stay and even more can join us. Above all, we should agree on how we got here, what exactly happened and who this ‘we’ is that we keep talking about. There is a lot to clarify. Before we are lost for words or They will silence us.
A performance art piece exploring the length of a light-year takes the audience inside a planetarium. The performance is part of Milky Way Tour exhibition programme.
In the vacuum of space, light travels 9.46 trillion kilometers per year. The two celestial bodies orbit far apart. When the journey of one ends, the light reaches the other only after billions of years.
The bilingual performance art piece Celestial Body invites the audience to follow a planetary love story inside a planetarium. We reach for the stars, that shine bright or fade away – and sometimes they answer the call of a loved one. Performer Silva Belghiti acts as the audience’s travel guide to the cold embrace of outer space and back.
Combining love poems and astronomy, the performance contemplates longing and the boundaries of communication, and attempts to demonstrate the scale of the Universe from the the human body’s perspective.
The presentation languages are Finnish Sign Language and English. The show is recommended for people over 13 years old.
Trailer by Iiri PoteriCelestial Body Part 2Celestial Body Part 6Celestial Body Part 1
Credits: Direction, Concept & Production: Joel Teixeira Neves Performer: Silva Belghiti Sound design: Johannes Birlinger Scenography: Saana Volanen Producer: Riikka Lakea Productional collaborators: Todellisuuden tutkimuskeskus ry, Ursa Minor, Ursa ry & Kiasma-teatteri Supported by: Koneen säätiö
Ives and Nora say goodbye. To their young audience, to their profession, to each other. They are on stage for the last time. What a thrill. They remember their first times. They want EVERYTHING again. Searching for words, for gestures. They want to go but can’t. The don’t know how. And where would they go? Trying, struggling, disappearing and coming back again and again. It’s sadly funny. A long goodbye – Will they make it? Ives and Nora wink at you one last time. Or is it the first time? ‘The Last Show’ is about goodbyes and the last time. The play looks at life from different perspectives. The audience witnesses farewells and provides impetus for things to happen. It is about the desire to let go and the power of new beginnings.
trailer by Nele Jeromin“Bühnentod”“Loslassen”“Duett” (Cover of “Felicita” – music by Dario Farina)
Credits: Concept, research, development: Working Group Direction: Hannah Biedermann Choreography and performance: Ives Thuwis & Nora Vonder Mühlll Sound design and music: Johannes Birlinger Stage and costumes: Regina Rösing Collaboration concept, technician : Stefan Colombo Production: Theater Sgaramusch & Cornelia Wolf
“Towards the end of this wonderfully clever and bitterly angry evening, the artist lets her personal hopes go up in flames. […] ‘Autsch’ is not a resigned piece. Quite the opposite.” Patrick Wildermann, Tagesspiegel, 6.12.2024
Capitalism, climate crisis, pandemic – or maybe it’s the menopause? Simone Dede Ayivi is going through a bad time. What the precise reason for this might be, whether yoga might help and who actually profits from our individual and societal crises is what she plans to find out together with the audience throughout the evening – because the disappearance of our own sense of well-being is probably the biggest unsolved criminal case of many people’s lives. So her performance is set in a slightly run-down detective agency and takes the form of a true crime story: from an infestation of pests in her apartment to the cuts to the cultural sector, Ayivi works outwards from her personal experience to reach a systemic social level of people – particularly those in marginalised groups – living in precarious situations. In this entertaining detective story with live piano accompaniment, she steps up to expose structural grievances and to move issues of personal happiness and managing everyday life away from personal and into public discourse. She is also able to contrast the general misery with a cautious view of the future that draws strength from coming together and delights us with a particularly heartwarming finale.
“Autsch” Trailer by Kornelia Kugler
Credits: Concept, Text, Performance: Simone Dede Ayivi Stage Design: Luca Maria Plauman Costume Design: Mariama Sow Video: Jones Seitz Sound Design, Musik: Johannes Birlinger Lighting Design, Pyrotechnic Effects, Technical Direction: Frieder Miller Project Collaborator: Charlotte Rosengarth Outside Eye: Bahar Meriç Dramaturgical Collaborator, Social Media: Fabian Pareigis Design Assistant: Hütchen Production Management: ehrliche arbeit – freies Kulturbüro Technical Production: Gefährliche Arbeit Press: Sarah Rosenau
Im Jahr 1881 veröffentlichte Carlo Collodi seine Geschichten um die lebendige Holzpuppe, die auf eine fantastische Reise gerät, unter dem Titel LE AVVENTURE DI PINOCCHIO (PINOCCHIOS ABENTEUER) in einer italienischen Wochenzeitung. Den Welterfolg, den sein kurz darauf in Buchform erschienener Roman im 20. Jahrhundert feiern sollte, erlebte der Autor nicht mehr. Die von ihm erfundenen Motive und Figuren jedoch kennt bis heute (fast) jedes Kind: das Puppentheater, das Pinocchio auf dem Weg zur Schule vom Pfad abbringt, Fuchs und Kater, die zwielichtigen Gauner-Tiere aus dem Wald, die sprechende Grille, die Fee mit den blauen Haaren, der Riesenhai, der Pinocchios Vater, den Holzschnitzer Geppetto, verschluckt hat – und die Nase, die unkontrolliert zu wachsen beginnt, wenn die Holzpuppe sich nicht zu einhundert Prozent an die Wahrheit hält.
Auf die Bühne gebracht wird das diesjährige Kinderstück zur Weihnachtszeit um die tapfere Holzpuppe mit dem guten Herzen von Benedikt Grubel, den das Freiburger Publikum aus Produktionen wie KARLSSON VOM DACH, WIE DER WAHNSINN MIR DIE WELT ERKLÄRTE und OZ kennt. Gemeinsam mit Michael Kaiser erarbeitet er eine eigene Fassung des klassischen Stoffs. Sie spürt den kleinen und großen philosophischen Fragen nach, die der wackeren Puppe (und uns) auf der abenteuerlichen Reise begegnen.
Trailer Pinocchio“Pino – Pinocchio”. Mit: Stimmen: Ensemble, Klarinette: Fabian Guggisberg, Trompete: Karl Seibt, Schlagzeug: Ro Kuijpers. Live aus dem Theater Freiburg vom 05.01.2025. “Der Fuchs”. Mit: Banjo: Alexander Redwitz, Klarinette: Fabian Guggisberg, Schlagzeug: Ro Kuijpers. Live aus dem Theater Freiburg vom 05.01.2025. “Die Taube”
“i will be African even if you want me to be German, and I will be German even if my blackness doesn’t suit you. I will go yet another step further, to the farthest side, where my sisters are – where my brothers stand, where our FREEDOM begins” – (from “borderless and brazen – a poem against the German ‘u-not-y’ by” May Ayim)
The installation Unauthorized and Shameless examines German history from a Black perspective: we take a look at the post-war period and then move forward together to the beginnings of the recent Black movement. To this end, we shed light on the biographies of those born in the post-war years as children of Black US soldiers and white German mothers.
We met and interviewed wonderful people of this generation, who speak about growing up, their struggles and the realities of Afro-German life. Their stories are accompanied and shaped by exclusion and by the institutional racism of the Federal Republic of Germany. But they are also, and above all, stories of resistance and community-building.
Simone Dede Ayivi & Kompliz*innen delve into the archives for Unauthorized and Unverschämt, shedding light on the racism and sexism of the Federal Republic of Germany – which is also responsible for families being separated and children being taken away from their mothers, adopted into the US or placed in care homes. They are conducting research in Mannheim, Frankfurt and Berlin into society’s treatment of the so-called ‘occupation children’ and searching for traces left in official records. For in order to understand current debates on identity and racism within and outside Black communities in Germany, we must also know this part of our history.
Trailer by Kornelia Kugler
Afronautin
Vom Standpunkt Einer Erleichterung
Credits:
Konzept, Text:Simone Dede Ayivi Bühne: Mirjam Pleines Video: Jones Seitz Komposition, Sound: Johannes Birlinger Licht: Frieder Miller Presse- und Öffentlichkeitsarbeit: Sarah Rosenau Projektmitarbeit: Charlotte Rosengarth Ausstattungsassistenz: Luca Plaumann Produktionsleitung: ehrliche arbeit – freies Kulturbüro Technische Leitung:Gefährliche Arbeit
Eine Produktion von Simone Dede Ayivi & Kompliz*innen in Koproduktion mit Sophiensæle und dem Stadtensemble des Nationaltheaters Mannheim. Gefördert durch die Berliner Senatsverwaltung für Kultur und Gesellschaftlichen Zusammenhalt und den Fonds Darstellende Künste aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien im Rahmen von NEUSTART KULTUR.
Leo thinks it’s best to leave everything as it is. Father Tobi, the two of them as a dream team and their house full of stuffed-but-somehow-also-living animals. Here the two have enough time for games, nonsense, and animal documentaries. Until Tobi suddenly changes, sings cheesy songs and has “dates”. with Rudi, a soft rock singer who used to be kind of famous. Rudi is suddenly invited to dinner, allowed to join their conversations and games, because Tobi is super in love with him – and overwhelmed. And even though there’s three of them, Leo suddenly feels much lonelier. When they are about to move to Rudi’s, Leo has had enough. Who gets to decide what should change around here? During secret visits to their old house, Leo meets someone very special. A child who blinks, has a huge heart and helps Leo deal with her troubles.
In WIR ZWEI, author Fayer Koch talks about the longing to be seen and loved – from both the child and parent perspective. The touching, funny story was awarded the 2nd Baden-Württemberg Youth Theater Prize 2022 and was discussed as a “clever, surprising and charming text” that “offers sophisticated children’s and youth theater an outstanding template.”
MaxiTiereRudiDie Rose (“I Want To Know What Love Is”, Music by Mick Jones, Lyrics by Fayer Koch. Vocals: Martin Klemm)
Einmal im Jahr in der Walpurgisnacht treffen sich alle alten Hexen zum Singen, Tanzen und Lachen. Die kleine Hexe ist mit ihren 127 Jahren leider noch zu jung und müsste noch 223 Jahre warten. Aber da Abwarten einfach nichts für sie ist, reitet sie heimlich mit ihrem Besen auf den Blocksberg, feiert fröhlich mit, bis sie entdeckt wird. Die kleine Hexe schafft es, die Oberhexe zu überzeugen, sie nicht allzu hart zu bestrafen: In einem Jahr darf sie wieder zur Walpurgisnacht vor dem Hexenrat eine Prüfung ablegen, um zu zeigen, dass sie eine gute Hexe geworden ist. Wenn ja, darf sie in Zukunft mit den großen Hexen tanzen und singen. Na, dann mal an die Arbeit. Zuhause in ihrem Hexenhäuschen heißt es nun gemeinsam mit ihrem treuen Freund, dem Raben Abraxas, üben, üben, üben, das ganze dicke Zauberbuch mit 999 Seiten auswendig lernen und keinen Unfug mehr anstellen. Wäre doch gelacht, wenn sie keine gute Hexe werden würde. Mit vielen guten Vorsätzen und allerlei Zaubertricks vollbringt die kleine Hexe jede Menge gute Taten und hilft, wo sie nur kann. Ein Jahr später steht die Prüfung vor dem Hexenrat an. Eigentlich klappt alles ganz gut, bis die böse Hexe Muhme Rumpumpel auftaucht und von all den guten Taten berichtet. So hatten die Hexen es doch gar nicht gemeint: Eine gute Hexe ist man nur, wenn man besonders viel Böses tut. Mit viel List und einer gehörigen Portion Mut dreht die kleine Hexe am Ende den Spieß um.
WalpurgisnachtKleine HexeOberhexe
Credits:
Directed by: Inda Buschmann Set and costume design: Sabina Moncys Sound design and music: Johannes Birlinger Dramaturgy: Karoline Felsmann Participation and Theatre Pedagogics: Samuel Fink
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photo by Tom Schulze
