Stream
Live Art Writing
Stream is a platform for texts motivated by live art. Stream is open to an expansive understanding of “Live Art”. There will be texts that are inspired by a specific piece or body of art – the writer’s own artistic work or someone else’s, texts that are unfolding notions of live art, texts that are dealing with developments and transformations by the art form as such.
We understand writing as a movement practice and see our texts as autonomous pieces. We write and publish experimental, literary, poetic, theoretical, and critical texts, stemming from performances and live art practised and presented across Berlin and beyond.
Stream is not intended as a publication for reviews. Rather, we come together as an open group of people sharing the desire to write; we commit to a regular frequency in which texts are published according to our needs and capacities. We keep everything as simple and as open as possible: the core is writing live art. No further concept, no pre-given formats or limits, but the creation of a channel, serving the stream.
We have initiated Stream in these times when live art is not as accessible as it usually is – “live” in this present situation sparks questions of absence, memory and the future, and writing is being rediscovered as a medium that carries over distance.
Here you can read a two-part article about the project in the TanzRaumBerlin magazine (part 1: german, part 2: german/english): part 1, part 2
We understand writing as a movement practice and see our texts as autonomous pieces. We write and publish experimental, literary, poetic, theoretical, and critical texts, stemming from performances and live art practised and presented across Berlin and beyond.
Stream is not intended as a publication for reviews. Rather, we come together as an open group of people sharing the desire to write; we commit to a regular frequency in which texts are published according to our needs and capacities. We keep everything as simple and as open as possible: the core is writing live art. No further concept, no pre-given formats or limits, but the creation of a channel, serving the stream.
We have initiated Stream in these times when live art is not as accessible as it usually is – “live” in this present situation sparks questions of absence, memory and the future, and writing is being rediscovered as a medium that carries over distance.
Here you can read a two-part article about the project in the TanzRaumBerlin magazine (part 1: german, part 2: german/english): part 1, part 2
Stream is located at Tanzfabrik and went live on September 1st 2020. The platform does not have an editorial board and the responsibility for the articles is with the writers. All texts are published in their original languages, mostly German and English. The current authors are: Angela Alves, Sasha Amaya, Michela Filzi, Beatrix Joyce, So Young H. Kim, Adam (aka Sandra) Man, Ayanda Ntombela, Lea Pischke, Parvathi Ramanathan, Nicola van Straaten, Susanna Ylikoski, Felicitas Zeeden, Elisa Frasson, Elisabeth Leopold.
Other texts by: Shelley Etkin, Inky Lee.
Additional writers are welcome to join by interest and invitation.
Contact: stream@tanzfabrik-berlin.de
Other texts by: Shelley Etkin, Inky Lee.
Additional writers are welcome to join by interest and invitation.
Contact: stream@tanzfabrik-berlin.de
Texts
Michela Filzi: On Paradise Circus
A text on the performance “Paradise Circus” created and performed by Despina Kapetanki on the 9.12.2023 in Uferstudios, Berlin.
A text on the performance “Paradise Circus” created and performed by Despina Kapetanki on the 9.12.2023 in Uferstudios, Berlin.
Elisa Frasson: ON "VENERE IN TEATRO" FESTIVAL
Elisa Frasson's reflections on the 'Venere in Teatro' festival, which takes place in Forte Marghera (Venice, IT) in September and "CrePa" a dance piece by artists Sara Sguotti and Arianna Ulian.
Elisa Frasson's reflections on the 'Venere in Teatro' festival, which takes place in Forte Marghera (Venice, IT) in September and "CrePa" a dance piece by artists Sara Sguotti and Arianna Ulian.
Lea Pischke: THE UNCANNY MIX OF LUDICROUS AND DANGEROUS
In this review Lea Pischke reflects on her thoughts and feelings about the show "Solo for Boy" by Sasha Amaya which was performed at Dock11 in Berlin, on 11, 12, 13 and 14 January 2024.
In this review Lea Pischke reflects on her thoughts and feelings about the show "Solo for Boy" by Sasha Amaya which was performed at Dock11 in Berlin, on 11, 12, 13 and 14 January 2024.
Lea inspects the interplay between the performers and their audience, their various understandings of self combined with attitudes, references and gazes. She asks herself if something funny and endearing can also be carrying the implicit threat of pain and destruction. The text concludes with thoughts on how this peculiar union might have been inflitrating the binary relationship "male-female" over millenia by taking a close look at the performance's final address to the audience.
Parvathi Ramanthan: Abundant Pastures - Fast Fashion Gen Z Primetime Gladiator in Sasha Amaya’s Solo for Boy
'Solo for Boy', Although the title announces the solitary design of the boy’s presence on stage, the performance evokes environs, people and circumstances in relation to him.The Boy himself then is unpeeled through his many avatars in this choreographic inquiry by Sasha Amaya on forms of white, western, male-bodied, Eurocentric beauty in image-based representation and real-life. The performance premiered at DOCK11 Berlin from 11 to 14 January 2024. ParvathiRamanathan was invited to reflect on the work through this textual response.
'Solo for Boy', Although the title announces the solitary design of the boy’s presence on stage, the performance evokes environs, people and circumstances in relation to him.The Boy himself then is unpeeled through his many avatars in this choreographic inquiry by Sasha Amaya on forms of white, western, male-bodied, Eurocentric beauty in image-based representation and real-life. The performance premiered at DOCK11 Berlin from 11 to 14 January 2024. ParvathiRamanathan was invited to reflect on the work through this textual response.
Michiyasu Furutani: A thought on "Lethe"
Artist and choreographer Michiyasu Furutani reflects on connectedness and nothingness in Sandra Man’s piece „Lethe“.
Artist and choreographer Michiyasu Furutani reflects on connectedness and nothingness in Sandra Man’s piece „Lethe“.
Michela Filzi: On "Continuing Containing"
This text is a personal reflection on the dance piece “Continuing Containing” by Susanna Ylikoski and Raz Mantell. Commissioned by the artists and performed on the 22.09.2023 in the frame of the "Blank Check festival" produced by nein9 collective, hosted by DockArt Theater Berlin.
This text is a personal reflection on the dance piece “Continuing Containing” by Susanna Ylikoski and Raz Mantell. Commissioned by the artists and performed on the 22.09.2023 in the frame of the "Blank Check festival" produced by nein9 collective, hosted by DockArt Theater Berlin.
Susanna Ylikoski: How a polar bear turns into a solar bear
Susanna Ylikoski joins dance artist Lena Klink’s rotational association games in turn and as a re-turn of her solo “solar bear”.
Susanna Ylikoski joins dance artist Lena Klink’s rotational association games in turn and as a re-turn of her solo “solar bear”.
Susanna Ylikoski: On Carving Dreams
What is live art? Can wood carving as an artistic practice be seen as a performance? In an essay, Susanna Ylikoski reflects on these questions through dream analogies.
What is live art? Can wood carving as an artistic practice be seen as a performance? In an essay, Susanna Ylikoski reflects on these questions through dream analogies.
Nicola van Straaten: Singing the Space Together
Reflections on 'Harmonias' - a moving choreographic and musical performance exploring polyphony and plurality in practice, directed by Alexandre Achour in co-authorship with Dunja Crnjanski, Esther Cowens, Sadim Alzafari and Shruti Bode.
Reflections on 'Harmonias' - a moving choreographic and musical performance exploring polyphony and plurality in practice, directed by Alexandre Achour in co-authorship with Dunja Crnjanski, Esther Cowens, Sadim Alzafari and Shruti Bode.
Beatrix Joyce: BONES, BEAST, BODY
An essay by Beatrix Joyce on the stylistic urgencies in the choreography of Claire Vivianne Sobottke, following her work “à mort: A Choreographic Song Cycle for Three Voices”. Edited by Honi Ryan.
An essay by Beatrix Joyce on the stylistic urgencies in the choreography of Claire Vivianne Sobottke, following her work “à mort: A Choreographic Song Cycle for Three Voices”. Edited by Honi Ryan.
Beatrix Joyce: AGAINST ULTRA
Beatrix Joyce’s impressions and reflections on fast fashion following the piece “STREET FABRIK” by Ini Dill, performed at Haus der Statistik, Berlin in May 2023.
Beatrix Joyce’s impressions and reflections on fast fashion following the piece “STREET FABRIK” by Ini Dill, performed at Haus der Statistik, Berlin in May 2023.
Susanna Yliksoki: A state of a body produced by a plant
Susanna Ylikoski recalls URBAN PLANTARIUM as the 2023 Solstice celebration, a happening bringing together people, dance, music, and foraged food by artist michela filzi.
Susanna Ylikoski recalls URBAN PLANTARIUM as the 2023 Solstice celebration, a happening bringing together people, dance, music, and foraged food by artist michela filzi.
Elisa Frasson: Choreographing Architectures — Sensory Dialgues between Dance and Architecture
Writer and researcher Elisa Frasson reflects on the premiere of Amaya's choreographic work CHOREOGRAPHING ARCHITECTURES, a profound exploration of space, movement, and community exchange.
Writer and researcher Elisa Frasson reflects on the premiere of Amaya's choreographic work CHOREOGRAPHING ARCHITECTURES, a profound exploration of space, movement, and community exchange.
Sasha Amaya & Elisabeth Leopold: On Choreographing Architectures
Dancer and choreographer Sasha Amaya discusses architectural inspiration, process, and valuing materiality in her project CHOREOGRAPHING ARCHITECTURES at the Deutsche Architektur Zentrum DAZ in this interview with writer and curator Elisabeth Leopold.
Dancer and choreographer Sasha Amaya discusses architectural inspiration, process, and valuing materiality in her project CHOREOGRAPHING ARCHITECTURES at the Deutsche Architektur Zentrum DAZ in this interview with writer and curator Elisabeth Leopold.
Michela Filzi: ON TELOS
Michela Filzi's poetic encounter with Sandra Man's space-poem “Telos”, a video work presented in the frame of Last Open Spaces at Tanzfabrik at the end of 2022.
Michela Filzi's poetic encounter with Sandra Man's space-poem “Telos”, a video work presented in the frame of Last Open Spaces at Tanzfabrik at the end of 2022.
Nicola van Straaten: Sasha Amaya - The Orfeo Project
Nicola van Straaten interviews Sasha Amaya about "The Orfeo Project", a choreo-operatic research project that unpacked Monteverdi's "Orfeo" through a feminist and minimalist lens.
Nicola van Straaten interviews Sasha Amaya about "The Orfeo Project", a choreo-operatic research project that unpacked Monteverdi's "Orfeo" through a feminist and minimalist lens.
Michela Filzi: DEEPLY LISTENING TO FORESTS
Michela Filzi describes her experience of Katia Engel's „Wälder / Hutan“ a research presenation shown at Kunstquartier Bethanien on April 1st 2023.
Michela Filzi describes her experience of Katia Engel's „Wälder / Hutan“ a research presenation shown at Kunstquartier Bethanien on April 1st 2023.
Lea Pischke: Foreland - Bach and Britten
Lea Pischke shares her thoughts on "Foreland - Bach and Britten", a cooperation between choreographer and dancer Nitsan Margaliot and cellist Isaac Lottman, with performances on Friday, 12th and Saturday 13th of May 2023 at Sankt Matthäus-Kirche, Berlin, in the frame of Soundance Festival.
Lea Pischke shares her thoughts on "Foreland - Bach and Britten", a cooperation between choreographer and dancer Nitsan Margaliot and cellist Isaac Lottman, with performances on Friday, 12th and Saturday 13th of May 2023 at Sankt Matthäus-Kirche, Berlin, in the frame of Soundance Festival.
Beatrix Joyce: A Romantic Risk
Taking inspiration from romantic love ballads, choreographer Eva Georgitsopoulou breaks down stereotypes of romantic love. Beatrix Joyce reflects on the piece with three dancers, performed at Acker Stadt Pallast in March 2023, and asks the artist about her work and creation process.
Taking inspiration from romantic love ballads, choreographer Eva Georgitsopoulou breaks down stereotypes of romantic love. Beatrix Joyce reflects on the piece with three dancers, performed at Acker Stadt Pallast in March 2023, and asks the artist about her work and creation process.
Parvathi Ramanathan: a body watching itself depart
River II by Jasna L. Vinovrški / Public in Private sits on the edge between the worlds of life and death. Writer Parvathi Ramanathan was invited to sit on this dispersing edge to reflect through her words on the experience of witnessing a departure. The performance-installation was presented by Tanzfabrik Berlin in the curatorial rubric of ‘NewWorks#2’
fold in February 2023.
River II by Jasna L. Vinovrški / Public in Private sits on the edge between the worlds of life and death. Writer Parvathi Ramanathan was invited to sit on this dispersing edge to reflect through her words on the experience of witnessing a departure. The performance-installation was presented by Tanzfabrik Berlin in the curatorial rubric of ‘NewWorks#2’
fold in February 2023.
Nicola van Straaten: unsung tongues
In two voices, Nicola van Straaten contemplates Jule Flierl's choreography "Time out of Joint", which premiered at Sophiensaele on 8 March 2023.
In two voices, Nicola van Straaten contemplates Jule Flierl's choreography "Time out of Joint", which premiered at Sophiensaele on 8 March 2023.
Susanna Ylikoski: Hybrid Offsprings
Commissioned by the Berlin Apricot Productions, Susanna Ylikoski reflects how the performance world of ‘Oiseau’ by La Cage company depicts the extinction of birds as a playground filled with hope.
Commissioned by the Berlin Apricot Productions, Susanna Ylikoski reflects how the performance world of ‘Oiseau’ by La Cage company depicts the extinction of birds as a playground filled with hope.
Beatrix Joyce: Just Keep on Slow Dancing
Beatrix Joyce recalls her experience of “The Intervention of Loneliness”, a participative performance by Ming Poon. There was slow dancing. Lots of it.
Beatrix Joyce recalls her experience of “The Intervention of Loneliness”, a participative performance by Ming Poon. There was slow dancing. Lots of it.
Michela Filzi: On "Physis"
Michela Filzi delves into “Physis”, a participatory movement space by Moritz Majce. She discovers it from the perspective of an attendant, noting her impressions and meditations on the cosmos along the way.
Michela Filzi delves into “Physis”, a participatory movement space by Moritz Majce. She discovers it from the perspective of an attendant, noting her impressions and meditations on the cosmos along the way.
Parvathi Ramanathan: A Lesson in Unspoken Verbs
Frederike Doffin’s informal sharing of her ongoing garden-based research on the ‘relational practices of bodies and land’ offers a deep container for calm. Parvathi Ramanathan recalls that morning from the late summer of 2022 at a garden in Britz.
Frederike Doffin’s informal sharing of her ongoing garden-based research on the ‘relational practices of bodies and land’ offers a deep container for calm. Parvathi Ramanathan recalls that morning from the late summer of 2022 at a garden in Britz.
Susanna Ylikoski: union
Author Susanna Ylikoski writes about her experience of Nitsan Margaliot’s triple bill "Foresigns", tracing and threading a common thematic on union.
Author Susanna Ylikoski writes about her experience of Nitsan Margaliot’s triple bill "Foresigns", tracing and threading a common thematic on union.
Parvathi Ramanathan: The Tea Cup and The Oscar
For absolutely a few brief seconds in the middle of ’Exotic Animal’, far from the principle segment of the show, the performer Ming Poon bursts into screeching manic laughter. It was a crack in the dam. To me, this slash of laughter that rang through the silence at the English Theatre Berlin represented the tremendous tension and contradictory pulls that the foreign body of the artist – our “exotic animal” – wades through.
For absolutely a few brief seconds in the middle of ’Exotic Animal’, far from the principle segment of the show, the performer Ming Poon bursts into screeching manic laughter. It was a crack in the dam. To me, this slash of laughter that rang through the silence at the English Theatre Berlin represented the tremendous tension and contradictory pulls that the foreign body of the artist – our “exotic animal” – wades through.
Beatrix Joyce: Five Gestures
In a text that interweaves her impressions of the work with an interview with artist Niels Weijer, Beatrix Joyce delves into the performative sculpture “arm dances”, exploring its intricate gestures.
In a text that interweaves her impressions of the work with an interview with artist Niels Weijer, Beatrix Joyce delves into the performative sculpture “arm dances”, exploring its intricate gestures.
Parvathi Ramanathan: Wilding the City
Invited to join the live audio walk/performance “WILD ACCESS” in Berlin Lichtenberg, Parvathi Ramanathan reflects on her night-time experience and explores how we – as humans and urban dwellers – interact with our ecosystem.
Invited to join the live audio walk/performance “WILD ACCESS” in Berlin Lichtenberg, Parvathi Ramanathan reflects on her night-time experience and explores how we – as humans and urban dwellers – interact with our ecosystem.
Michela Filzi & Susanna Ylikoski: our return to nature
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
Ayanda Ntombela: The Spirit of Shebeen comes to Berlin
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
Susanna Ylikoski: to be real, an object
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
Sandra Man & Inky Lee: One by One by One
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
Elisabeth Leopold: Eternal Re-Turning
Elisabeth Leopold shares a collective workshop experience with choreographer and teacher Deborah Hay. A try to transfer a movement practice into a writing practice.
Elisabeth Leopold shares a collective workshop experience with choreographer and teacher Deborah Hay. A try to transfer a movement practice into a writing practice.
Daniela von Damaros: A Feeling for the Earth
Based on Sandra Man's most recent workAeon III | Recall in September 2022 in Berlin, curator Daniela von Damaros writes about the relation of body and landscape in Sandra’s environment of live performance, text, video and drawings.
Based on Sandra Man's most recent workAeon III | Recall in September 2022 in Berlin, curator Daniela von Damaros writes about the relation of body and landscape in Sandra’s environment of live performance, text, video and drawings.
Parvathi Ramanathan: Returning into Loops of Rousing
A multimedia performance that swims in the reverberating remnants of language and sensation after the moment of shock (and before the next one), ‘after aftershock shock’ premiered at the Berliner Ringtheater in August 2022. The makers of the work invited Parvathi Ramanathan to immerse herself in its shaking vibrations and reflect on the performance through words.
A multimedia performance that swims in the reverberating remnants of language and sensation after the moment of shock (and before the next one), ‘after aftershock shock’ premiered at the Berliner Ringtheater in August 2022. The makers of the work invited Parvathi Ramanathan to immerse herself in its shaking vibrations and reflect on the performance through words.
Nicola van Straaten & Parvathi Ramanathan: Multiple (dis)harmonies
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
Inky Lee: Looking into the muffled voices
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
Nicola van Straaten: furu's work
nicola van straaten writes with eyes closed, channelling an evening where Michiyasu Furutani presents his artistic research at the closing of his residency at Flutgraben in December 2021/January 2022.
nicola van straaten writes with eyes closed, channelling an evening where Michiyasu Furutani presents his artistic research at the closing of his residency at Flutgraben in December 2021/January 2022.
Beatrix Joyce: Umbilical Chord
Choreographer Claudia Garbe invited Beatrix Joyce to record her impressions and reflections on her most recent work Wiegenlieder.
Choreographer Claudia Garbe invited Beatrix Joyce to record her impressions and reflections on her most recent work Wiegenlieder.
Michela Filzi: On "Continuing" and Containing
Dance-artists Raz Mantell and Susanna Ylikoski initiated a research based on the experience of taking walks, during the process they have taken walk separately and together, they have exchanged pictures, reflections and writings related to these walks. They have interwoven the walking with readings on the topic of the female body. In the studio they have then translated their findings in a scored dance improvisation. They shared their first research presentation on the 23.06.2022 at Dock11. The following text is my personal reflection on their work.
Dance-artists Raz Mantell and Susanna Ylikoski initiated a research based on the experience of taking walks, during the process they have taken walk separately and together, they have exchanged pictures, reflections and writings related to these walks. They have interwoven the walking with readings on the topic of the female body. In the studio they have then translated their findings in a scored dance improvisation. They shared their first research presentation on the 23.06.2022 at Dock11. The following text is my personal reflection on their work.
Parvathi Ramanathan: The River
"The River” invites audiences for a solo journey on a rowing boat upon the Spree river at sunset. Conceptualized by Aimé C. Songe alias Clément Layes and presented by Sophienseale throughout summer of 2022, the experience brings one to be guided by any one of five performers, into the waters near Treptower Park in Berlin. Each guide shapes the journey in a unique way and with a different story. On this chance evening, Asaf Aharonson, happened to be Parvathi Ramanathan’s boat-rider. Thence, a few monologues were uttered, real and imagined.
"The River” invites audiences for a solo journey on a rowing boat upon the Spree river at sunset. Conceptualized by Aimé C. Songe alias Clément Layes and presented by Sophienseale throughout summer of 2022, the experience brings one to be guided by any one of five performers, into the waters near Treptower Park in Berlin. Each guide shapes the journey in a unique way and with a different story. On this chance evening, Asaf Aharonson, happened to be Parvathi Ramanathan’s boat-rider. Thence, a few monologues were uttered, real and imagined.
Nicola van Straaten: on tensions, tangles and the nature of forces
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
So Young H. Kim: 52°55’N, 13°37’E TO 43°55’N, 20°30’E
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
Beatrix Joyce: City Cues
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
Sasha Amaya: Triangulations
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
Parvathi Ramanathan: skipping stones to the other shore
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
Sasha Amaya & So Young H. Kim: Double blick
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
FALL 2021 “memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
Beatrix Joyce: BAG Collective Podcast
This is a conversation with the BAG collective reflecting on their year-long performance project and collaboration process in 2021. It includes an interview with all six members and audio excerpts from their final performance The End Is Not An Option at Vierte Welt in November 2021. The podcast serves as a documentation of their process and features the voices of those who together made it happen.
*Correction in audio: The residencies took place at Stadtwerk mrzn, then Wahrenberg, then Feld Theater, then Vierte Welt.
Lea Pischke: Washed ashore on self-made stages
FALL 2021 "memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
FALL 2021 "memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
Felicitas Zeeden: Editorial FALL 2021
FALL 2021 "memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
FALL 2021 "memories and reflections" is a publication of texts written by STREAM authors for the performances of the FALL 2021 season at Tanzfabrik Berlin.
Sandra Man: The Puppet, The Puppeteer
In Tibo Gebert's puppet show "Hero" (2022), the relationship between puppet and player comes to the fore. It is figure theater without figure and story, pure spatial presence of a moving and a moved body. The text is dedicated to this transformation.
In Tibo Gebert's puppet show "Hero" (2022), the relationship between puppet and player comes to the fore. It is figure theater without figure and story, pure spatial presence of a moving and a moved body. The text is dedicated to this transformation.
Lea Pischke: On Wild Access
Lea Pischke's savage writing about the dance piece "WILD ACCESS" by BeatrixJoyce, performed on the running track of Sportplatz Monumentenstraße, Berlin
Lea Pischke's savage writing about the dance piece "WILD ACCESS" by BeatrixJoyce, performed on the running track of Sportplatz Monumentenstraße, Berlin
Michela Filzi : Coexisting Room.
Michela Filzi responds to Clémentine M Songe’s (aka Clément Layes / PUBLIC IN PRIVATE’s) latest work „Living Room“, presented at Sophiensaele on the 28th of November 2021.
Michela Filzi responds to Clémentine M Songe’s (aka Clément Layes / PUBLIC IN PRIVATE’s) latest work „Living Room“, presented at Sophiensaele on the 28th of November 2021.
Angela Alves: I think.
Angela Alves responds to the question of what is preoccupying her right now. This text was written in November 2021 during a residency in the context of the EU-program "Imagining Futures“.
Lea Pischke: Wir treffen uns.
As part of the program "Critical Journey through the Festivals / Parcours des Spectateurices à travers les Festivals", Lea Pischke accompanied a German-French group of performing arts enthusiasts through Theatertreffen Berlin, the Performing Art Festival Berlin and the PERSPECTIVES Festival in Saarbrücken in May 2021.
The main focus was on the position of the spectator (Text in German).
The exchange was organized by the Platform for German-French Art in Lyon, the Centre Français de Berlin and received support from the German-French Youth Office (Paris, Berlin, Saarbrücken).
As part of the program "Critical Journey through the Festivals / Parcours des Spectateurices à travers les Festivals", Lea Pischke accompanied a German-French group of performing arts enthusiasts through Theatertreffen Berlin, the Performing Art Festival Berlin and the PERSPECTIVES Festival in Saarbrücken in May 2021.
The main focus was on the position of the spectator (Text in German).
The exchange was organized by the Platform for German-French Art in Lyon, the Centre Français de Berlin and received support from the German-French Youth Office (Paris, Berlin, Saarbrücken).
Lea Pischke: Virus Ex Machina.
As part of the program "Critical Journey through the Festivals / Parcours des Spectateurices à travers les Festivals", Lea Pischke accompanied a German-French group of performing arts enthusiasts through the Festival d'Avignon in France in July 2021 (Text in German).
The exchange was organized by the Platform for German-French Art in Lyon, the Centre Français de Berlin and received support from the German-French Youth Office (Paris, Berlin, Saarbrücken).
The exchange was organized by the Platform for German-French Art in Lyon, the Centre Français de Berlin and received support from the German-French Youth Office (Paris, Berlin, Saarbrücken).
Inky Lee: It pulls us closer
A poem written in movement in relation to bodies and belonging.
The movement causes motion sickness, as well as an exhale of leaving.
Susanna Ylikoski: Environments in Environments
The author reacts to and re-enacts the performance GOOD QUESTION by Tomaž Simatović and András Meszerics.
The author reacts to and re-enacts the performance GOOD QUESTION by Tomaž Simatović and András Meszerics.
Sandra Man: Present 01-03
In Present 01-03 Sandra Man writes about the encounter with the audience.
In Present 01-03 Sandra Man writes about the encounter with the audience.
Beatrix Joyce: Those Who Wander. On Veduta
Veduta ist eine interaktive Tanztour im öffentlichen Raum, die vom Choreografen Sebastian Matthias (SM Collaborations) entwickelt wurde. Beatrix reflektiert ihre Erfahrungen mit Veduta in Basel und erkundet die Lieder und Eindrücke, die ihr auf dem Weg begegnen.
Veduta ist eine interaktive Tanztour im öffentlichen Raum, die vom Choreografen Sebastian Matthias (SM Collaborations) entwickelt wurde. Beatrix reflektiert ihre Erfahrungen mit Veduta in Basel und erkundet die Lieder und Eindrücke, die ihr auf dem Weg begegnen.
Felicitas Zeeden: On Aeon. Traces of Eternity.
The author reflects on the work Aeon as a network of relationships between bodies, surfaces, urban noise and industrial wilderness. Time levels merge, chronologies dissolve, the future leaves traces.
The author reflects on the work Aeon as a network of relationships between bodies, surfaces, urban noise and industrial wilderness. Time levels merge, chronologies dissolve, the future leaves traces.
Michalis Angelidis, Xenia Koghilaki, michela filzi: Letters to an absent Audience
As the HZT MA SODA graduation works cannot be experienced live this year, graduating students Michalis Angelidis, Xenia Koghilaki and michela filzi write letters to their absent audience.
As the HZT MA SODA graduation works cannot be experienced live this year, graduating students Michalis Angelidis, Xenia Koghilaki and michela filzi write letters to their absent audience.
Inky Lee: Halmoni, part 8
This is the last piece of writing in this series of Puppy talking with its grandma (who is 89 years old and lives in Seoul) about and around performances taking place in Berlin. There is no triumphant resolution or grand exit.
This is the last piece of writing in this series of Puppy talking with its grandma (who is 89 years old and lives in Seoul) about and around performances taking place in Berlin. There is no triumphant resolution or grand exit.
Inky Lee: Halmoni, interlude
In celebration of its grandma’s 89th birthday, Puppy writes about fantasies and memories after watching a private performance, Dirty Non-Dancing, by Marga Alfeirão (‘Marky’), as a part of the Club for Performance Art Gallery hosted by Camila Malenchini (‘Party’).
In celebration of its grandma’s 89th birthday, Puppy writes about fantasies and memories after watching a private performance, Dirty Non-Dancing, by Marga Alfeirão (‘Marky’), as a part of the Club for Performance Art Gallery hosted by Camila Malenchini (‘Party’).
Inky Lee: Halmoni, part 7
After its performance at the Club for Performance Art Gallery hosted by Camila Malenchini (‘Party’), Puppy talks about love with its grandma who is 88 years old (Puppy has mistaken its grandma's age this entire time. Its grandma was born in the Year of Rooster, meaning that she’s 88 years old now, and will turn 89 this year) and lives in Seoul.
After its performance at the Club for Performance Art Gallery hosted by Camila Malenchini (‘Party’), Puppy talks about love with its grandma who is 88 years old (Puppy has mistaken its grandma's age this entire time. Its grandma was born in the Year of Rooster, meaning that she’s 88 years old now, and will turn 89 this year) and lives in Seoul.
Susanna Ylikoski: Live-between-Stream. Livers, masters, Veils
The author reflects on live- and streamed performance art through drawing parallels from David Foster Wallace’s essay ‘E Unibus Pluram: Television and U.S Fiction’.
The author reflects on live- and streamed performance art through drawing parallels from David Foster Wallace’s essay ‘E Unibus Pluram: Television and U.S Fiction’.
Susanna Ylikoski / Beatrix Joyce: Three Questions
During the third lockdown we came up with the idea of asking each other three questions about writing and live art. In an ongoing series we publish one duet each time. In this text, Beatrix Joyce and Susanna Ylikoski explore their writing practices.
During the third lockdown we came up with the idea of asking each other three questions about writing and live art. In an ongoing series we publish one duet each time. In this text, Beatrix Joyce and Susanna Ylikoski explore their writing practices.
Inky Lee: Halmoni, part 6
On Lunar New Year’s Day, Puppy watches a performance, “Searching for Home (In Berlin)”, created and performed by South Korean artist, Hanuel Kang, as part of Unfinished Fridays Vol.73 hosted by Lake Studios Berlin. Afterwards, Puppy speaks with its grandma (who is 87 years old and lives in Seoul) about the performance.
On Lunar New Year’s Day, Puppy watches a performance, “Searching for Home (In Berlin)”, created and performed by South Korean artist, Hanuel Kang, as part of Unfinished Fridays Vol.73 hosted by Lake Studios Berlin. Afterwards, Puppy speaks with its grandma (who is 87 years old and lives in Seoul) about the performance.
Lea Pischke: Dancer's Diary
It has once been stated that working as an artist is "serious fun". It has also been stated that the work of a dancer is "to be in the moment". This poem has it all: the seriousness, the fun and the immediacy. Such are the pre-requisites to ride through the five stages of despair: 1. confusion 2. anger 3. nervous anticipation 4. hilarity 5. intense delusion. The poem stopped at stage 4.
It has once been stated that working as an artist is "serious fun". It has also been stated that the work of a dancer is "to be in the moment". This poem has it all: the seriousness, the fun and the immediacy. Such are the pre-requisites to ride through the five stages of despair: 1. confusion 2. anger 3. nervous anticipation 4. hilarity 5. intense delusion. The poem stopped at stage 4.
Inky Lee / Lea Pischke: Three Questions
During the third lockdown we came up with the idea of asking each other three questions about writing and live art.
During the third lockdown we came up with the idea of asking each other three questions about writing and live art.
In this text, Lea Pischke and Inky Lee ask each other questions and answer them.
Inky Lee: Halmoni, part 5
Puppy speaks to its grandma (who is 87 years old and lives in Seoul) about a video, all the delights of the earth, made by Max Puorro (‘Poppy’), where the artist interviews their grandma after she is diagnosed with leukaemia.
Puppy speaks to its grandma (who is 87 years old and lives in Seoul) about a video, all the delights of the earth, made by Max Puorro (‘Poppy’), where the artist interviews their grandma after she is diagnosed with leukaemia.
Sandra Man / Nicola van Straaten: Three Questions
During the third lockdown we came up with the idea of asking each other three questions about art. In an ongoing series we publish one duet each time.
Sandra Man: Chora. Moving Space
In a text based on her artistic experience she made during the piece called Chora, Sandra Man reflects on a third genre situated in-between time and space, performance and installation.
Inky Lee: Halmoni, part 4
Puppy speaks to its grandma (who is 87 years old and lives in Seoul) about performing at "Wir sind die Friedensstatue" (We are the Statue of Peace), a demonstration that happened on 25 Nov 2020, on the International Day for the Elimination of Violence against Women.
Puppy speaks to its grandma (who is 87 years old and lives in Seoul) about performing at "Wir sind die Friedensstatue" (We are the Statue of Peace), a demonstration that happened on 25 Nov 2020, on the International Day for the Elimination of Violence against Women.
Nicola van Straaten: Some Kind of Spell is Read Out Loud, after which a Seeker Seeks a Frequency and then We Talk
The writer takes an indulgently long meander through a recent work entitled, mASCUliN(I)TY, created and performed by Namibian dramaturge, actor and voice & performance artist, Ndinomholo Ndilula.
The writer takes an indulgently long meander through a recent work entitled, mASCUliN(I)TY, created and performed by Namibian dramaturge, actor and voice & performance artist, Ndinomholo Ndilula.
Susanna Ylikoski: Reading as Performance / Performance as Reading
Where do we speak from? Upon reading our sensory receptors receive information which is then trans-mutated into symbols of meaning in our brain. And to whatever we perceive we respond to.
Where do we speak from? Upon reading our sensory receptors receive information which is then trans-mutated into symbols of meaning in our brain. And to whatever we perceive we respond to.
Sandra Man & Laura Siegmund: Körper, Raum, Text, Publikum, Bewegung
Die Künstlerin Sandra Man und die Tänzerin Laura Siegmund denken aus ihrer Zusammenarbeit heraus über die Bezüge zwischen Körper, Raum, Sprache und Publikum nach. Sie beschreiben eine autonome Bewegungskunst, die von Choreographie, Improvisation und Scores losgelöst ist.
Die Künstlerin Sandra Man und die Tänzerin Laura Siegmund denken aus ihrer Zusammenarbeit heraus über die Bezüge zwischen Körper, Raum, Sprache und Publikum nach. Sie beschreiben eine autonome Bewegungskunst, die von Choreographie, Improvisation und Scores losgelöst ist.
Felicitas Zeeden: zu Aeon. Spur der Ewigkeit
The author reflects on the work Aeon as a network of relationships between bodies, surfaces, urban noise and industrial wilderness. Time levels merge, chronologies dissolve, the future leaves traces.
The author reflects on the work Aeon as a network of relationships between bodies, surfaces, urban noise and industrial wilderness. Time levels merge, chronologies dissolve, the future leaves traces.
Inky Lee: Halmoni, Part 3
Puppy speaks to its grandma (who is 87 years old and lives in Seoul) about "Healers," a work by Jasna L. Vinovrški, presented on 31 October 2020 at Uferstudios, as a part of Open Spaces, organised by Tanzfabrik.
Puppy speaks to its grandma (who is 87 years old and lives in Seoul) about "Healers," a work by Jasna L. Vinovrški, presented on 31 October 2020 at Uferstudios, as a part of Open Spaces, organised by Tanzfabrik.
Inky Lee: Halmoni
Its grandma, halmoni in Korean, is 87 years old and lives in Seoul. The writer (who, in this text, will be called ‘Puppy’, as its grandma often called it gang-a-ji, which means ‘puppy’ in Korean. It is a commonly used Korean term for expressing affection) speaks to its grandma about it’s all love, blue spectres, an HZT BA graduation work by Camille Jemelen.
Its grandma, halmoni in Korean, is 87 years old and lives in Seoul. The writer (who, in this text, will be called ‘Puppy’, as its grandma often called it gang-a-ji, which means ‘puppy’ in Korean. It is a commonly used Korean term for expressing affection) speaks to its grandma about it’s all love, blue spectres, an HZT BA graduation work by Camille Jemelen.
Lea Pischke: The next Plateau
This essay deals with the concepts of physicality in opposition to exertion and exhaustion and includes several more or less fruitful attempts at explaining
why an audience seems to insistingly crave the sweat on a dancer’s skin.
This essay deals with the concepts of physicality in opposition to exertion and exhaustion and includes several more or less fruitful attempts at explaining
why an audience seems to insistingly crave the sweat on a dancer’s skin.
Beatrix Joyce: Dissolutions
For his work The Quality of Being in Colour, choreographer Niels Weijer conducted research into the perception of colour. This text is based on his initial references, an interview with the artists (Niels Weijer & Michael Tuttle) and the writer’s own wanderings into the realms of colour, utopias, environment and the void.
For his work The Quality of Being in Colour, choreographer Niels Weijer conducted research into the perception of colour. This text is based on his initial references, an interview with the artists (Niels Weijer & Michael Tuttle) and the writer’s own wanderings into the realms of colour, utopias, environment and the void.
Sandra Man & Marita Tatari: What Forms the Present?
In an inverse artist talk the artist Sandra Man asks questions to the philosopher Marita Tatari. The main topic of their conversation is the contemporary „we“ that we are when we are the public of a piece: Who is addressed when art speaks to all of us?
In an inverse artist talk the artist Sandra Man asks questions to the philosopher Marita Tatari. The main topic of their conversation is the contemporary „we“ that we are when we are the public of a piece: Who is addressed when art speaks to all of us?
Beatrix Joyce: AEON
Beatrix responds to Moritz Majce’s and Sandra Man’s latest work “AEON”. Based on the relationship between audience and performer and using the artists’ original texts as source material, an imaginary encounter between a SPACE INVADER and a SPACE WALKER unfolds.
Beatrix responds to Moritz Majce’s and Sandra Man’s latest work “AEON”. Based on the relationship between audience and performer and using the artists’ original texts as source material, an imaginary encounter between a SPACE INVADER and a SPACE WALKER unfolds.
Angela Alves: Selbstfürsorge als Rebellion
This is a text about how to approach embodiment and surrendering as rebellious acts of self care.
This is a text about how to approach embodiment and surrendering as rebellious acts of self care.
Shelly Etkin: Curtains
This text is about curtains; tangible and imagined, material and immaterial. It is also about gardens and invisible realities. The text digs into the story of the Wizard of Oz to reflect on these topics and how they might be relevant for performance.
This text is about curtains; tangible and imagined, material and immaterial. It is also about gardens and invisible realities. The text digs into the story of the Wizard of Oz to reflect on these topics and how they might be relevant for performance.
Inky Lee: Impractical reality, romance
Inky ruminates on the impracticality of romance, while scurrying around NYC in the summer of 2015.
Inky ruminates on the impracticality of romance, while scurrying around NYC in the summer of 2015.
Sandra Man: A New Sensualism
What does it mean to be „present“ on a fundamentally – technologically and ecologically – transforming planet? Inspired by various body related contemporary art works the text unfolds a new context and value of sensing as aesthetically relating to the world.
What does it mean to be „present“ on a fundamentally – technologically and ecologically – transforming planet? Inspired by various body related contemporary art works the text unfolds a new context and value of sensing as aesthetically relating to the world.
Lea Pischke: Hitler's Death Day
Things that happen when a group of politically minded and rather motion-starved artists get together in front of the former Reichstag
to celebrate someone‘s death, in April 2020. Considering the very intriguing coincidence of other politically minded people‘s desire
to storm aforementioned building in August the same year, a fun question pops up: who was crazier?
Things that happen when a group of politically minded and rather motion-starved artists get together in front of the former Reichstag
to celebrate someone‘s death, in April 2020. Considering the very intriguing coincidence of other politically minded people‘s desire
to storm aforementioned building in August the same year, a fun question pops up: who was crazier?
Inky Lee: Mirage in the Desert
Mirage in the Desert is a playful contemplation on failed flirtations and romance, in relation to the art of caring. The text constantly questions: “Is that real water or a mirage?”
Mirage in the Desert is a playful contemplation on failed flirtations and romance, in relation to the art of caring. The text constantly questions: “Is that real water or a mirage?”
Beatrix Joyce: Chora
In what ways can we engage with, reflect on and document hybrid modes of performance? Following their invitation, I responded to Moritz Majce's and Sandra Man’s space choreography “CHORA” in writing and experimented with my ideas on how to put my experience of the work into words.
In what ways can we engage with, reflect on and document hybrid modes of performance? Following their invitation, I responded to Moritz Majce's and Sandra Man’s space choreography “CHORA” in writing and experimented with my ideas on how to put my experience of the work into words.