Property changes consciousness. It divides friends, gives one person power over others and excludes. Property is taken forgranted. And people don’t talk about it. Nothing is so constitutive of our society, or our lives together; nothing has such a divisive effect on our community as property.
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An ars erotica for the stage – a fusion of modern sex-education picture book and late medieval dance of death.
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In this workshop, She She Pop deals with memory, re-enactment and narration within a collective. (…) The actual creation of a narration is still considered as the activity of an individual genius, and there is no plural for Gedächtnis (memory). How can a collective develop content-related motifs and a narrative structure, based on self-chosen and transparent rules? How does a narration emerge as a polylogue in a group improvising according to those rules?
She She Pop will present the premiere of the new production KANON at HAU Hebbel am Ufer on November 23rd.
“Oratorio – A collective meditation on a well-kept secret” has been invited to the Theatertreffen 2019.
The Jury Statement says: „It’s not proper to talk about money. The performance collective She She Pop couldn’t care less and sets out to explore the topics of private property, inequality and shame. (…) Like always in She She Pop’s work, the political nestles inside the private, in the biographical material. The revolutionarily beautiful costumes by Lea Søvsø can serve as a flag or as a cape. And the actors on stage are just as versatile. In short: A show that asks the right questions and refuses to accept any glib answers.”
From December 2018 to June 2019 Johanna Freiburg will work with five participants based in Ireland. This mentorship programme is a unique opportunity for theatre and performance makers of all kinds to develop an early-stage idea for performance, outside the pressures of production.
The Pan Pan International Mentorship is funded by the Arts Council.
The Gate Theatre is the mentorship partner for 2018-19.
Johanna Freiburg’s participation is supported by the Goethe-Institut Irland.
