What does craftsmanship look like today? What form does virtuosity in a contemporary artistic process take?

Can technique ever be separate from the context in which it was developed? What artistic and cultural forms do we accept for the re-telling of dominant narratives?

«Orfeo» is Sasha Amaya’s chores-operatic work exploring listening, sounding, proximity, power, and loss. Amaya moves from Monteverdi’s 1607 opera based on the Ancient Greek myth to contemporary interpretations of its central themes. Using the interface between music and movement, gendered motifs from opera and ballet history, and a re-casting of roles, Amaya explores what happens if we turn our attention from Orfeo to Euridice in this fabled tale. Balancing choreographic tools, musical fantasias, and the relationally of bodies, the work juxtaposes tension and flow, restriction and agency, script and sensation.

An artist talk will take place after the performance on 23 November.

Accessibility
There is an abstract depiction of violence in one scene.
It is a sound-intensive piece with loud vocals in places, high tones and drone bass.
Fog and smoke are used at times.  
The event will be held in Studio 5 in English and Italian. 
Studio 5 is accessible without steps but has a raised wooden floor which can be reached via a 1.5% inclined ramp. Wheelchair spaces are available. The barrier-free toilet is located in the foyer of the studio.
Limited reimbursement for travelling with a wheelchair is available as well as limited pick-up services. If required, please register promptly at access@tanzfabrik-berlin.de.
Pre-boarding (early seating) and a limited number of beanbags are available for people with mobility impairments. Both can be reserved at ticket@tanzfabrik-berlin.de.

Content notes
There will be depictions of violence in places. It is a sound-intensive play with very loud singing in places. 
Further information on accessibility can be found on our website: https://www.tanzfabrik-berlin.de/de/barrierefreiheit# 
For further questions about accessibility at this event, please contact access@tanzfabrik-berlin.de.  

Concept, Choreography, Direction, Musical Dramaturgy, : Sasha Amaya 

Performance: Sasha Amaya, TingAn Ying, Svetlana Mamresheva, Peyee Chen, Boram Ahn

Costume: Isabelle Edi, Sasha Amaya, Dila Kaplan

Light: Catalina Fernández

Outside eye: Dandan Liu
Production management: Tiphaine Carrère, Maria Kousi, Areli Moran. 

A production from Sasha Amaya. Supported by IMPACT Förderung of the Berlin Senate Department for Culture and Social Cohesion, and by the Canada Council for the Arts. Co-produced by Tanzfabrik Berlin. Supported by ROXY Birsfelden. 

Initial research supported by the Canada Council for the Arts, Lake Studios Berlin, and the Fonds Dezentrale Kulturarbeit from the Berlin Senate Department for Culture and Social Cohesion.

↪ FURTHER BIOGRAFIES

Boram Ahn is a collaborative pianist based in Berlin. Born and raised in South Korea, and studying composition, piano performance, and collaborative piano at McGill University in Canada, Boram now moves between performing, her private studio, and her work as a repetiteur at festivals and theatres across Europe. https://boramahn.de/

An omnivore when it comes to performing, soprano Peyee Chen enjoys singing Monteverdi with lute and bass viol as much as singing Bernhard Lang with electronics and electric bass. She is interest in vocal and contact improvisation, DIY electronic instruments, and installation and performance art. She has appeared as a soloist at the Philharmonie de Paris, Munich Biennale, Cologne Philharmonie, Pierre Boulez Saal, and Konzerthaus Berlin, amongst others. https://peyeechen.com/

Born in Hamburg, Isabelle Edi is a costume designer, artist, and curator circling around Black (diasporic) existences and their echos though costume, sound, and (moving) images. Her practice can be described as an artistically and scientifically expanded concept of costume and sound, focused around themes of representation, nostalgia, and futurisms. Isabelle has collaborated wtih Schauspielhaus Hamburg, Thalia Theater, Kampnagel, Tanzquartier Wien, BRUT, David Uzochukwu, and the film collective Jünglinge, amongst others. In collaboration with friends, Isabelle founded POSSY in 2017, a collective committed to the visibility of FLINTA* in cultural and club spheres. @isocialbutterflyy 

Beijing-born Dandan Liu is a freelance dramaturge, member of the Berlin Ringtheater Kollektiv, and curator at Freie Werkstatt Theater Cologne. Her work is characterised by her transcultural perspectives, analytical and critical thinking and focuses on the areas of performance, political theatre, and dance theatre. She uses biographical, non-fictional, and digital primary source material, which she examines through theoretical discourses in order to discover new possibilities for historiography. @dana_peterpan

Svetlana Mamresheva,  is a Soprano, Theatre and cinema actress. She works at the Thalia Theatre in Hamburg, and in “Kirill and friends” in Berlin, prior to which she worked for ten years with Kirill Serebrennikov at the Gogol Centre Theatre in Moscow. Now in Germany, Svetlana studies under Professor Deborah York at the Universität der Kunste, German Lied with Eric Schneider, and contemporary music with Axel Bauni. Collaborated with the RSB Orchestra, and conductor Vladimir Jurowski.

TingAn Ying 鄞廷安 is a Han-Taiwanese artist and cultural practitioner based in Berlin. Trained in dance, TingAn’s works are grounded in body-, time-, and experience-based materials, spanning performance, dramaturgy, philosophy, politics, communication, and facilitation. TingAn’s work emphasises plurality, socio-political engagement, and is rooted in anti-colonial discourses. TingAn has collaborated primarily as an original cast member with Anouk van Dijk, Emanuel Gat, and Edan Gorlicki, amongst others. https://yingtingan.cargo.site/