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PERSONA NON GRATA

Tuesday, 11/12/2024 at 4:00 PM

PERSONA NON GRATA

Tuesday, 11/12/2024
at 4:00 PM

More on 11/12/2024

ASTOR Filmtheater, Kino 4
Lange Straße 60
38100 Braunschweig

More in Braunschweig

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For a former ski racer, everything was actually forgotten, the ghosts of the past banished. But then one stroke of fate followed another, and it was time to face the old demons and bring them to light forever. A story of liberation based on true events. A film about an extraordinary woman.

Event data provided by: Reservix

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Disasters can happen. Wars, however, are made by humans. Nevertheless, they influence the fate of the planet as a whole. Agata Siniarska approaches this topic from an unusual perspective. In her solo work, which she has conceived after extensive research, she includes entire landscapes, the reality of animals, plants, and inanimate matter. She wants to listen to their neglected voices. Therefore, the question at the center of “null&void” is how this is possible: How can human bodies develop transhuman understanding? How can organs be used and further developed to see more, feel more intensely, and think differently?

Agata Siniarska works in the field of expanded choreography. She places her practice between how we think about the world and how we move in it. It is a place where body awareness meets social engagement – between somatic and ecological landscapes, between human and non-human bodies. Agata's current research deals with the idea of an Anthropocene Museum, with multi-species archives in times of war and extinction, as well as various human and non-human alliances. Agata was born in Poland and lives in Berlin. Her works have been shown in various contexts all over Europe, including Gessnerallee Zurich, Kultursymposium Weimar, Tanznacht Berlin, Impulse Festival Mülheim, Biennale Lyon, Kaaitheater Brussels, and Festival Tanz Im August. Her recent choreographic works include DOWN TO THE BONE, performance-concert, null&void, MUSEUM OF THE ANTHROPOCENE. Diorama No1 – Ghosts and Monsters, and SECOND NATURE. In addition to performance and choreography, Agata has recently embarked on her journey through the underground music scene and performs as TATARI alongside the noise punk band rat milk.

Concept and choreography: Agata Siniarska
Artistic collaboration: Julia Plawgo, Julia Rodriguez, Lubomir Grzelak, Partners in Craft, rat milk, Zuzanna Berendt
Body sculpture and make-up: Una Ryu
Costume design: Maldoror
Light design: Annegret Schalke
Vocal training: Ignacio Jarquin
Music/Sound: Lubomir Grzelak, from “Uncle Boonmee who can recall his past events” by Silver Screen Sound Machine
Production: Agata Siniarska
Co-production: Tanz Im August / HAU Hebbel am Ufer Berlin, Cross Attic Prague, Partners in Craft

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null&void - Performance von Agata Siniarska über Allianzen menschlicher und nicht-menschlicher Körper

Disasters can happen. Wars, however, are made by humans. Nevertheless, they influence the fate of the planet as a whole. Agata Siniarska approaches this topic from an unusual perspective. In her solo work, which she has conceived after extensive research, she includes entire landscapes, the reality of animals, plants, and inanimate matter. She wants to listen to their neglected voices. Therefore, the question at the center of “null&void” is how this is possible: How can human bodies develop transhuman understanding? How can organs be used and further developed to see more, feel more intensely, and think differently?

Agata Siniarska works in the field of expanded choreography. She places her practice between how we think about the world and how we move in it. It is a place where body awareness meets social engagement – between somatic and ecological landscapes, between human and non-human bodies. Agata's current research deals with the idea of an Anthropocene Museum, with multi-species archives in times of war and extinction, as well as various human and non-human alliances. Agata was born in Poland and lives in Berlin. Her works have been shown in various contexts all over Europe, including Gessnerallee Zurich, Kultursymposium Weimar, Tanznacht Berlin, Impulse Festival Mülheim, Biennale Lyon, Kaaitheater Brussels, and Festival Tanz Im August. Her recent choreographic works include DOWN TO THE BONE, performance-concert, null&void, MUSEUM OF THE ANTHROPOCENE. Diorama No1 – Ghosts and Monsters, and SECOND NATURE. In addition to performance and choreography, Agata has recently embarked on her journey through the underground music scene and performs as TATARI alongside the noise punk band rat milk.

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Production: Agata Siniarska
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Actually, Matthias Walz is really nice. Only when something upsets him, he can become quite angry. And there are many things that upset him, especially in politics. As the star of "Fastnacht in Franken," the highest-rated show of all third programs in Germany, Matthias Walz regularly reads the riot act to the assembled political elite. The result is collective gasping: from the politicians, because they have to pretend everything is fine. And from the rest of the audience, because they are nearly falling off their chairs laughing.

Lounging casually at the piano, the man in the green suit musically sharpens his brilliant thoughts and makes his audience laugh with wit, charm, and intelligence – and sometimes even makes them think. No human abyss is foreign to him, no truth too direct. His sensitive powers of observation and sharp-tongued eloquence can only be rooted in his solid education – a long self-taught apprenticeship in the pub culture, lovingly accompanied by university studies in computer science, physics, and linguistics.

So, Matthias Walz is a wanderer between worlds. And an entertainer with conviction. Therefore, it is quite possible that some might find their laughter caught in their throats. Because Matthias Walz wants to be like Santa Claus: you look forward to him, but you also have a bit of fear of what might come your way. But to reassure you: Matthias Walz feels the same way about you. And you’re really not that angry, are you?

___________________
Film and audio recordings as well as photos will be taken during the event, and by attending the event you agree to their subsequent use.

Doors open: 1 hour before the start.

Forchheim

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A piece about bullying, courage, and solidarity

Six weeks of summer vacation. Six weeks of paradise! Bocki, ice cream, and pizza snacks can be found at the kiosk on the campsite. And a new girl who wasn't here last year...

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TOPICS: (Cyber)bullying, courage and solidarity, boundary violations and (sexual) harassment, group dynamics and dependencies, peer pressure and cohesion

School performance

Age recommendation: 12+ / from 7th grade

Production: Theater Strahl Berlin

Direction: Inda Buschmann

Text: Hannah Schopf

Set design: Stephanie Dorn

Music: Valentin Schroeteler

With: Amos Detscher, Anne Sofie Schietzold, Valentin Schroeteler, Christine Smuda

Photo: Jörg Metzner

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»If you’re not angry, you’re not paying attention.«

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Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

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Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

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Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

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6/5/2025
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Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

6/5/2025
10:00 AM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

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6/6/2025
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Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

6/7/2025
8:00 PM

Grau ist keine Farbe

Six weeks of summer vacation. Six weeks of sun and the lightness of being! Snacks and drinks are available at the stand on the campsite. And a new person who wasn't there last year...
Injuries caused by shame, love, and arrogance lead to exclusions in the midst of the oh-so-cheerful holiday atmosphere. A dynamic arises between those responsible for the actions, the affected parties, parents, vacationers, and the employees there, from which there is (almost) no escape. And it all started so innocently, didn't it?

Neuwied

6/14/2025
5:00 PM

Grau ist keine Farbe

Six weeks of summer vacation. Six weeks of sun and the lightness of being! Snacks and drinks are available at the stand on the campsite. And a new person who wasn't there last year...
Injuries caused by shame, love, and arrogance lead to exclusions in the midst of the oh-so-cheerful holiday atmosphere. A dynamic arises between those responsible for the actions, the affected parties, parents, vacationers, and the employees there, from which there is (almost) no escape. And it all started so innocently, didn't it?

Neuwied

6/15/2025
5:00 PM

Matthias Walz - Der böse Mann am Klavier

Actually, Matthias Walz is really nice. Only when something annoys him, he can become quite mean. And there are many things that annoy him, especially in politics. As the star of "Fastnacht in Franken," the highest-rated program of all third channels in Germany, Matthias Walz regularly gives the assembled political elite a piece of his mind. The result is collective gasping: among the politicians, because they have to put on a good face for the bad game. And among the rest of the audience, because they almost fall off their chairs from laughing.

Leaning casually at the piano, the man in the green suit musically sharpens his brilliant thoughts and makes his audience laugh with wit, charm, and intellect – and sometimes even think. No human abyss is foreign to him, and no truth is too direct. His sensitive powers of observation and sharp-tongued eloquence can only be rooted in his solid education – a lengthy self-taught apprenticeship in pub culture, lovingly underscored by university studies in computer science, physics, and linguistics.

So he is a wanderer between worlds, Matthias Walz. And an entertainer with conviction. Therefore, it may well happen that some may find their laughter stuck in their throats. Because Matthias Walz wants to be like Saint Nicholas: You look forward to him, but you also have a bit of fear about what might come. But to reassure you: Matthias Walz feels the same way about you. And you’re not really mean. Or?

Photo: Valentin Winhart

19:00

Erlangen

10/2/2025
8:00 PM

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