Tanzfabrik
Berlin
Stage
Stage
Stage
Stage
Uferstudio 5 & Heizhaus Stage
Stage
Photo: Dieter Hartwig

Hopeless. (Revival)

Performative Sound Installation & Tanzperformance · Wiederaufnahme by Sergiu Matis

Pastoral poetry from Greek and Roman antiquity is at the base of Sergiu Matis’ performance Hopeless. In an unceasingly warming world, what is left of the idyllic, cultivated nature described in the poems of Theocritus and Virgil? Are the poets perhaps themselves responsible for setting it on fire with their trivial erotic turbulence, and their politicising of landscape? Today, we forge our own pastoral settings out of shreds, fragments and remains, like data from a library of sounds of extinct animals, or old and new translations of the Idylls. A desperate act of putting back together, or franticly trying to conserve what’s left, all the while mourning the losses yet to come. A general sensation of powerlessness transforms us into spectators at a festival of catastrophes and ruination.

The performers in Hopeless. are technologically enhanced nymphs and shepherds that desperately compete to see who can make the audience cry the loudest. The ecology between poetic language and choreography enables words to collide woefully with flesh, and vocal cords to give the tone to motion so that we can shout out loudly, and exorcise all possible dystopian scenarios. Hopelessness is not a state of a paralysis, but a powerful force that moves us to act.

11.12.2021 Haptic Access Tour and live audio description
by Lena Michaelis of Gravity Access Services for audience members with visual impairments. The Haptic Access Tour starts at 6pm. Locaton: Uferstudio 5.
By registration only under: anmeldung@tanzfabrik-berlin.de or phone: +49.30.200 592 70 

Sergiu Matis

Sergiu Matis is a Romanian choreographer born in 1981 in Cluj-Napoca. He received his dance education at the Liceul de Coregrafie in Cluj and the Mannheim Academy of Dance, and began his career at Tanztheater Nuremberg. He has been living and working in Berlin since 2008, creating his own works such as Keep It Real (2013), Explicit Content (2015), Neverendings (2017), Hopeless. (2019), UNREST (2021) and DRANG (2022). He has led workshops and educational activities at a range of institutions worldwide. In 2014 he completed his masters in Solo/Dance/Authorship at the Inter-University Centre for Dance (HZT) / Berlin University of the Arts (UdK). 
The performance on 12.12.21 unfortunately has to be cancelled!
Concept, choreography: Sergiu Matis | Performance: Martin Hansen, Sergiu Matis, Manon Parent | Text: Sergiu Matis, Mila Pavicevic, based on translations of Virgil and Theocritus* | Composition: AGF aka Antye Greie | Dramaturgy: Mila Pavićević | Species Research, text: Philip Ingman | Set design: Dan Lancea | Costume: Philip Ingman | Light design: Sandra Blatterer,  Emma Juliard | Light: Fabian Bleisch | Technical management: Andrea Parolin | Choreografic assistance: Orlando Rodriguez | Production: Anna Chwialkowska | Represented by: Danila - Freitag, Agentur für Performative Künste | Animal sounds courtesy of the Macaulay Library at the Cornell Lab of Ornithology and the Xeno-canto Foundation.
A Sergiu Matis production | Funded by Wiederaufnahmeförderung,  Senate Department for Culture and Europe, coproduced by apap - FEMINIST FUTURE, a project cofunded by the Creative Europe Programme of the European Union | Supported by DIEHL+RITTER/TANZPAKT RECONNECT, which is funded by the German Federal Government Commissioner for Culture and the Media as part of the NEUSTART KULTUR initiative.


GRAVITY ACCESS SERVICE / Haptic Access Tour and live audio description supported by DIEHL+RITTER / Tanzpakt Reconnect | funded by the German Federal Government Commissioner for Culture and the Media as part of the NEUSTART KULTUR initiative.

*Translations of Theocritus and Virgil from: Hine, Daryl (trans.), 1982, Theocritus: Idylls and Epigrams, New York: Atheneum; and Holzberg, Niklas (ed. and trans.), 2016, ‘Bucolica / Hirtengedichte’ in Bucolica, Georgica / Hirtengedichte, Landwirtschaft, Berlin, Boston: De Gruyter, pp. 42–50.