Bullshit

Foto: Benjamin Krieg

On an empty stage, She She Pop find themselves as salespeople in the endless loop of a sales show. Everything is on offer. The search goes on and on for something they can still attach value to, only to sell it off. In Bullshit, She She Pop bravely confront the loss of a shared reality. They acknowledge that they know nothing, that even the poetic reality of the theatre space has been compromised. So they try to leave the bubble of their perception. They commit themselves to uncertainty and dedicate themselves to unlearning. Will they still succeed in shaping an experience out of chaos, finding meaning in randomness, creating meaning in the confusion of possibilities – or, as a last resort, declaring bankruptcy a comedy?

Credits

A production by She She Pop in Co-production with HAU Hebbel am Ufer Berlin, Kampnagel Hamburg, Künstler*innenhaus Mousonturm, FFT Düsseldorf, Residenz Schauspiel Leipzig, HELLERAU – Europäisches Zentrum der Künste. Supported by: Theaterhaus Berlin Mitte.

Funded by Berlin Senate Department for Culture and Social Cohesion Berlin and the German Federal Cultural Foundation.

 

 

 

Dates

Premiere
October 29, 2024, HAU, Berlin
more dates:
October 30/31, 2024, HAU, Berlin
November 01/02/03, 2024, HAU, Berlin

Dates

Premiere
October 29, 2024, HAU, Berlin
more dates:
October 30/31, 2024, HAU, Berlin
November 01/02/03, 2024, HAU, Berlin

High

Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg

We never wanted to take drugs. And we don’t dance at raves, in fan corners or in church services either. We are suspicious, always have been, and even more so since Covid: everything seems intrusive, garish, harder than before. We are alienated, life is a participatory hell. The pandemic has put its hat on individualism. And everything we ever knew about dissolute collective states we have forgotten. We need a rush, an ego disorder, we need collective euphoria.

“High” is a ceremony in a changeable, all-encompassing tent. Here we will gather behind the banner whose inscription we do not yet know. With explicit consideration of all resistances and differences, we will find a rhythm, rehearse a procession and eat from the dough that bears the imprint of all our hands. Until the melancholic, neoliberal ego monster is anaesthetised. Until we jump out of our skin and breathe a sigh of relief: all together. High time.

 

Credits

Concept/Idea: She She Pop, By and with: Sebastian Bark, Johanna Freiburg, Lisa Lucassen, Mieke Matzke, Ilia Papatheodorou, Tatiana Saphir, Claudia Splitt, Berit Stumpf.

Artistic Advice: Rodrigo Zorzanelli, Sets and Costumes: Lea Søvsø, Künstlerische Artistic Support Sets and Costumes: Ulrike Plehn, Hannah Wolf,  Artistic Support Sets: Michael Kleine, Technical Director and Light Design: Christian Maith, Sounddesign: Manuel Horstmann, Video: Benjamin Krieg, Production: Alisa Tretau, Tina Ebert, Intern and Cookiedealer: Charlotte Engel, Dough production: Greta Patten, Intern: Gali Har-Gil, Simultaneous English Live Translation: PANTHEA, Audio description: Pingpong Translation & Subtitling / Martina Reuter, Johanna Krins, PR & Communication: ehrliche arbeit – freies Kulturbüro, Freelance Communication Support: Tina Ebert, Financial Administration: Aminata Oelßner, Company Management: Elke Weber.

Workshop Input: Club Gewalt, I Can Be Your Translator, Mirah Laline, Tuk Bredsdorff.
Odd Meter Groove Doctor: Maurice de Martin.

A production by She She Pop in co-production with HAU Hebbel am Ufer Berlin, FFT Düsseldorf, Schauspiel Leipzig, HELLERAU – EUROPÄISCHES Zentrum der Künste. Supported by Theaterhaus Berlin Mitte.

Funded by the German Federal Cultural Foundation and Senate Department Department of Culture Berlin.

 

Trailer

Dates


past dates:
October 16/17, 2023, HAU 2, Berlin
October 15, 2023, HAU 2, Berlin
October 13/14, 2023, HAU 2, Berlin
October 12, 2023, HAU 2, Berlin

Press

“It is no coincidence that many other theatres and performance collectives aside from She She Pop are also currently focusing their work on community and ecstasy. Because the longer the growing isolation and social anonymity are taken for granted, the harder we will be hit by the consequences in form of radicalization, hatred and agitation. Just how democratizing intoxication can be, was already evident in the ancient forerunner of theatre: the mystery play, whose content was of a cultic-religious nature and at whose heart lay collective ecstasy. An ecstasy that was rooted in the communal experience of these games, which often lasted for days.”
The Pioneer, Pia von Wersebe, 20.10.2023

“”High” started out as a socio-critical search for a “we”, as an attempt to become intoxicated together with the audience – and ended up as an ironic exercise in meditation with observations on resistance, overcoming shame and participatory fun and games.”
Berliner Zeitung, Ulrich Seidler, 14.10.23

“No, there are no drugs involved here, even if Papatheodorou describes her cookies as having an “effect”. They are to be eaten together at a designated time, so that everyone absorbs the traces and imprints, and possibly sweat and skin flakes of another. Ecstasy is therefore not actually the goal, but rather the experience of collectivity.”
Nachtkritik, Michael Wolf, 13.10.2023

“She She Pop has named the evening “High” with the declared aim of putting us all into a collective state of intoxication here and now, ecstasy under supervision, so to say, or as they call it, “a shared high” (…) Blockages need to be released, resistance eliminated and distracting thoughts banished. (…) The members of She She Pop are not deterred by any of this, they simply perform away any reservations and stick to their guns: stop individualism, bring on the collective ecstasy. Together we are stronger, or at least higher.”
Berliner Morgenpost, Katrin Pauly, 13.10.2023

“It’s okay to think of rituals when watching the show, but we’re not performing any that already exist. (…) As always, we use ourselves as examples and offer ourselves as carriers of strategies that can lead to a high. (…) In this protected theatrical space, there is always the chance to try something out (…), to slip briefly into a different situation, into a different social system, into a social situation. You can’t start a big revolution without first having practiced or tried it out.”
Lisa Lucassen in conversation with Oliver Krantz, rbb kultur radio, 11.10.2023

 

Happening

Eine öffentliche Probe als Ritual
Foto: Lena Halmburger
A ritual is a communicative action with regulated procedures, and – if all goes well – an event. She She Pop have long been interested in such prepared collective practices. This time it is particularly about: the collective invocation, expansion of the senses, transcendental experience, insight into hidden connections, reversal of norms and collective rapture. How does this happen? If we ever knew anything about dissolute collective states, we probably forgot during the Covid pandemic. High time to reflect: we certainly can’t do without mind-expanding techniques, system-shaking insights or collective healing at the moment.
She She Pop are at the beginning of a research. Together with the audience and with the inclusion of all legitimate reservations, they are exploring intoxicating, de-limiting states for collective liberation.

Credits

A production by She She Pop in collaboration with HAU Hebbel am Ufer. Supported by the process funding of the Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media within the framework of NEUSTART KULTUR and the Berlin Senate Department for Culture and Europe.

Dates


past dates:
March 11, 2023, HAU, Berlin

Walls

Das Foto zeigt eine Performerin in einem roten Kostüm auf einem Bürostuhl vor einem Tisch mitten in einem Bücherhaufen im Vordergrund. Im Hintergrund sind zwei weitere Performerinnen zusehen, wie sie mit Taschenlampen den Bühnenraum erkunden.
Foto: Dorothea Tuch / Projizierte Fotografie: © Robert Polidori
Foto: Dorothea Tuch / Projizierte Fotografie: © Andreas Rost, Courtesy Collection Regard, Berlin
Foto: Dorothea Tuch
Foto: Dorothea Tuch / Projizierte Fotografie: © Robert Polidori
Foto: Dorothea Tuch / Projizierte Fotografie: © Wenke Seemann (Detlef Seemann)
Foto: Dorothea Tuch / Projizierte Fotografie: © Wenke Seemann (Detlef Seemann)
Foto: Dorothea Tuch / Projizierte Fotografie: © Arwed Messmer
Foto: Dorothea Tuch / Projizierte Fotografie: © Andreas Rost, Courtesy Collection Regard, Berlin

Ten years ago in Drawers, She She Pop members sat across from some of their East German contemporaries. Drawers explored the systemic conditions that forged their identities, showing two strong ideologies and opposing doctrines each with their inner logic. Our self-images, however, have not survived the past ten years and the myths of where we came from already lay in ruins. Can a common future even be built on the baggage of the past, the failed utopias of our parents’ generation and the abuse and injustice of the past 30 years?

Against the backdrop of present times, which are marked by isolation and destruction, She She Pop opens the stage to search for collective visions of the future and what stands in their way. As a mental extension of Drawers, She She Pop has once again invited various guests to share the stage or be connected virtually in their new production, Walls. Together, they travel through time to past moments and possible futures. In doing so, they try to form a community that surpasses linguistic or physical barriers, which are outside the range of solidarity or imagination or even brutally defined by visa requirements. Whereas the stage was still a place of uncomfortable clashes in Drawers, here it is turned into a neoliberal co-working space or dark padded cell used as a think tank. The journey takes the audience along walls that permeate how we perceive shared reality and its emotional impact. She She Pop and guests sift through the rubble of documentary material and combine it with futuristic camera technology to turn the stage into a time capsule. Women travel in it to uninhabitable or deserted scenarios to speculate on or live in other forms of the present and possible futures. Fantasy or the possibility of fiction emerges as a precious commodity. It is a dimension that is difficult to reach and can only be attained together with a special effort of doubt, fear, insolence, humour and clairvoyance.

Credits

Idea and concept: She She Pop, By and with (performed in alternating line-up): Sebastian Bark, Natasha Borenko, Johanna Freiburg, Annett Gröschner, Jahye Khoo, Alexandra Lachmann, Katharina Lorenz, Lisa Lucassen, Peggy Mädler, Mieke Matzke, Ilia Papatheodorou, Wenke Seemann, Berit Stumpf.

Dramaturgy: She She Pop, Annett Gröschner, Peggy Mädler, Artistic Advice: Rodrigo Zorzanelli Cavalcanti, Director of Photography Video Installation: Benjamin Krieg, Video Support: Rocío Rodriguez, Sets: Sandra Fox, Costumes: Lea Søvsø, Costumes Assistance: Lili Hillerich, Music: Max Knoth with Maria Schneider, Sound Design: Xavier Perrone, Technical Director and Light Design: Sven Nichterlein, Production: Chiara Galesi, Interns: María Giacaman, Ruth Lindner, Workshop Input: Lavinia Knop-Walling, Rehearsal Interpretation (German/Korean): Eunsoon Jung, Simultaneous English Live Translation: PANTHEA / Anna Johannsen, Audio description: Pingpong Translation & Subtitling / Martina Reuter, Johanna Krins, PR, Communication: ehrliche arbeit – freelance office for culture, Freelance Communication Support: Tina Ebert, Financial Administration: Aminata Oelßner, Company Management: Elke Weber.

Special thanks to the photographers and archivists who have provided photographic material from their artistic works:

Robert Polidori, with works from the series “Zones of Exclusion PRIPRYAT AND CHERNOBYL”;
Andreas Rost, Courtesy Collection Regard, Berlin, with works from the series “Das Jahr 1990 freilegen”, “Wahlgang”, “Mauern Ramallah” and “Der unbekannte Oscar Niemeyer in Algiers”;

Benjamin Krieg with works from his archive.

Credits:
A production by She She Pop in co-production with HAU Hebbel am Ufer Berlin, Kampnagel Hamburg, Künstler*innenhaus Mousonturm, FFT Düsseldorf, Schauspiel Leipzig, HELLERAU – EUROPÄISCHES Zentrum der Künste. Supported by Theaterhaus Berlin Mitte.

Funded by the City of Berlin — Department for Culture and Europe, the German Federal Cultural Foundation and by Rudolf Augstein Foundation.

Trailer

Dates


past dates:
January 25/26/27, 2024, Mousonturm, Frankfurt am Main
January 18/19/20, 2024, Kampnagel, Hamburg
June 21, 2023, Schauspiel Graz, Graz
May 20/21, 2023, Schauspiel Leipzig, Leipzig
January 25/26/27, 2023, HAU Hebbel am Ufer HAU 1, Berlin
December 08/10/11/12/13, 2022, HAU Hebbel am Ufer HAU 1, Berlin
December 07, 2022, HAU Hebbel am Ufer HAU 1, Berlin

Press

“Taking objects as their point of departure, She She Pop soon explore a utopian space through a rather impressive projection of photographs onto several layers of gauze. The performers crawl through a kind of tunnel, sometimes ending up in a destroyed house after the catastrophe of Chernobyl, then they are back in front of a block of houses in former East Berlin – today’s Berlin-Mitte (…) Along the way, the performers try to continue the dialog about the many unanswered questions surrounding property or participation using constantly new rules. First breathe, then speak. Or touch. The rules have to be renegotiated over and over again, as utopia remains utterly elusive, and so the picture transforms into an increasingly incomprehensible collage of the future.”
Annette Stiekele, Hamburger Abendblatt, 19.01.24

“The drawers have become walls, which doesn’t sound very optimistic, but doesn’t spread gloom either. (…) But the beauty of She She Pop’s narrative experimental theatre is that ideological exaggerations always just serve as an initiation for their dismantling. And on this evening they achieve this dismantling with only a few wonderfully playful tricks. Whenever the dialogue reaches a dead end, they give themselves new rules for expressing themselves (…). And slowly their self-reflection slips into a dreamlike journey through time, back to that turning point in history when everything still seemed possible. A gauze curtain falls and a wall of dense undergrowth is projected onto it. The former border region of the Berlin Wall has become a social divide. But slowly the camera zooms closer and closer into the green until a black hole opens up, through which the performers simply slip backstage, into another space-time. The stage becomes a magical floating place between yesterday and today, between concrete slab and mahogany interior – and the performers climb around in it, as in their most daring utopias. Suddenly, everything seems possible here, including joining forces with two other colleagues from Seoul and Siberia via video. And for the length of one performance the world is a better place.”
Doris Meierhenrich, Berliner Zeitung, 08.12.2022

“After ten years, She She Pop once again open the drawers at Berlin’s HAU in which they autobiographically sought to engage in a dialogue between East and West. Among the books from the past, which they divide into what can go and what should stay, they also discover old utopias. Which are still worth something to us today, in the midst of a war and an increasingly visible climate catastrophe, after all the debates on identity politics and a growing awareness that our white Central European perspective of prosperity is perhaps in itself more a problem than a solution?”
Georg Kasch, Nachtkritik, 08.12.2022

“Visions of the future from the past. In general, much here revolves around the future, visions, utopias. (…) The protagonists undertake a journey through time, which takes them both into the past and into the future. It is a journey on which the women repeatedly change planes. The planes of time and perception. And over and over again, they come up against barriers, walls.
Antje Bonhage, rbb-online, 07.12.2022

Chorstück

As part of the “Berlin bleibt! #4” Festival

She She Pop conducted interviews with neighbors about living and working at Mehringplatz. In the context of “Berlin bleibt! #4 – Treffpunkt Mehringplatz” they develop a performative game in which residents and passers-by spontaneously and playfully encounter each other in different formations. Who says what about Mehringplatz, in which statements do we find ourselves?

Credits

Concept: She She Pop – in collaboration with Stella Konstantinou and HAU to connect
Text: The text is based on interviews conducted by She She Pop with residents, passers-by and business people at Mehringplatz in spring 2022.

Production and dramaturgical advice: Alisa Tretau. PR, Communication: ehrliche arbeit – freies Kulturbüro. Freelance Communication Support: Tina Ebert. Financial Administration: Aminata Oelßner. Company Management: Elke Weber.

A performance by She She Pop in Co-production with HAU Hebbel am Ufer supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and Media within the program NEUSTART KULTUR and funded by the City of Berlin – Department for Culture and Europe.

A project within “Berlin bleibt #4 – Treffpunkt Mehringplatz”, a festival by HAU Hebbel am Ufer. Funded as part of the Alliance of International Production Houses by the Federal Government Commissioner for Culture and the Media. Supported by: Gewobag.

Dates


past dates:
July 01, 2022, Mehringplatz, Berlin

She She Pop – Mehr als sieben Schwestern

Quiñones, Aenne (Hrsg.) She She Pop
Postdramatic Theatre in Portraits

Much has happened since the founding of the feminist performance collective She She Pop, both in terms of feminism and the development of post-dramatic theatre. Both belong together for the internationally renowned “women’s group of seven women and one man”. Working as a collective became a forward-looking model for this and still forms the prerequisite for constantly trying out new forms of cooperation and breaking down clichés. Shame, Shame, Shame! – where many look the other way, that’s where it gets interesting for She She Pop.

With an introductory essay by Annett Gröschner, an interview with She She Pop by Aenne Quiñones, conversations with long-time collaborators, numerous illustrations and an up-to-date catalogue raisonné.

The series Postdramatic Theatre in Portraits is dedicated to the development of a new theatre aesthetic since the 1990s. The history of actors of postdramatic theatre in the German-speaking world is told for the first time in the form of monographs. The editors of the series are Florian Malzacher, Aenne Quiñones and Kathrin Tiedemann.

A publication series of the Kunststiftung NRW at Alexander Verlag Berlin.

2022, 168 pages. 115 illustr.. 13,5 x 19,0 cm. Broschur

ISBN 978-3-89581-562-1

12,90 €

Dance Me!

Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Foto: Benjamin Krieg
Dance Me! is a dance marathon between two competing generations. The stage is an arena in which She She Pop and guests take on the role of the elderly; the others are a group of young performers. Mutual incomprehension, otherwise known as the generation gap, is brought to the stage and celebrated in a strict dance ritual. The teams take turns: those who are not on the dance floor man the microphones and make music. The two generations not only make the other group dance to its beat: they also push each other  to exhaustion while chalking up a long list of insults, complaints and justifications. Or is it a show of admiration? Gratitude? — We don’t know. For the show, the two teams have practised separately and face off their opponents with their latest moves.
What is a generation anyway? Does it really exist? And if so: what do we have to say to each other? Look here, listen: this is what we have learned, this is where our wisdom lies, this is our concern, our desire, our boredom, our blind spot. This dance step, this formation tells of it, this song line sums it all up! Get up, stand up / Let me hear your body talk / Don’t stop til you get enough / Shablam for me / Da Da Da / Dance me to the end of love…! For the show, the two teams have practised separately and face off their opponents with their latest moves.

 

Credits

Concept/Idea: She She Pop (The cast changes every show). By and with (old): Sebastian Bark, Dan Belasco Rogers, Santiago Blaum, Johanna Freiburg, Fanni Halmburger, Lisa Lucassen, Mieke Matzke, Ilia Papatheodorou, Tatiana Saphir, Claudia Splitt, Berit Stumpf. By and with (young): Hiyam Biary, Eren M. Güvercin, Jan Nwattu, Şimal Nil Şahin, Nikolas Stäudte, Béla Arnaud Weimar-Dittmar, Zelal Yesilyurt, Sindi Zeneli.

Artistic Advise: Laia Ribera Cañénguez, Rodrigo Zorzanelli Cavalcanti, Stage: Jan Brokof, Costumes: Lea Søvsø, Costumes Assistance: Marie Göhler and Gabi Bartels, Light Design: Andreas Harder, Michael Lentner, Light Design Assistance: Vito Walter, Choreografic Advise: Jill Emerson, Sound: Xavier Perrone, Technical Director: Sven Nichterlein, Production: Valeria Germain, Production Assistence Young: Sarah Mounia Kachiri,  PR, Communication: ehrliche arbeit – freies Kulturbüro, Freelance  Communikation Support: Tina Ebert, Financial Administration: Aminata Oelßner, Company Management: Elke Weber.

Workshop Input: The Darvish, Jasmine Thomas, Bree Hauschild, Sven Drühl.
Special thanks to: Max Knoth, Stella Konstantinou and Peggy Mädler.

Simultaneous English Live Translation: PANTHEA / Irina Bondas (22.01. and 23.01.2022)
Audio description: Pingpong Translation & Subtitling / Martina Reuter (24.01.2022)

A Production of She She Pop in Co-Production with HAU Hebbel am Ufer Berlin, Kampnagel Hamburg, Künstler*innenhaus Mousonturm, FFT Düsseldorf, HELLERAU – Europäisches Zentrum der Künste. Funded by the German Federal Cultural Foundation and by the City of Berlin – Department for Culture and Europe.

Trailer

Dates


past dates:
March 16/18, 2023, HAU, Berlin
February 10/11/12, 2023, FFT Forum Freies Theater, Düsseldorf
February 03/04, 2023, Hellerau-Europäisches Zentrum der Künste, Dresden
January 19/20/21, 2023, Mousonturm, Frankfurt am Main
October 29, 2022, Spring Dance Utrecht, Utrecht
September 01/02, 2022, TANZtheater INTERNATIONAL, Hannover
February 11/12/13, 2022, Kampnagel, Hamburg
January 19/21/22/23/24, 2022, HAU, Berlin
January 18, 2022, HAU, Berlin

Press

“(…) If Dance Me makes one thing clear, it is that achievements are not for eternity. In a theatrical battle, the Berliners of She She Pop playfully tackle these facts. Even if the tempo slackens a little here and there, the one hundred minute performance is entertaining due to a healthy dose of humour. (…)Dancing with oranges between their bodies or enjoying a rave: various exercises are used in each round. In between the exercises, we are playfully provided with information about the different generations. Thus we learn that the young wallow in melancholy with their fondness for singer-songwriter Lana Del Rey, while the rebellious elderly lovingly ruin the song ‘The Wall’ by Pink Floyd. ‘Teacher, leave them kids alone’ is symbolic self-irony and exactly in the spirit of She She Pop. The established ideals of the older generation, who quickly have the audience wrapped around their little fingers with their disarming dances, are constantly undermined. We make progress, but then we fall short again. Apparently they are not sustainable. The new generation will have to reinvent the wheel again. The audience, in front of whom young and old struggle for recognition over the course of the entire performance, is thrilled.”
Moos van den Broek, www.theaterkrant.nl, 31.10.2022

“It is most powerful when the young refuse the concept of generations, when they present themselves as diversity per se. And the elders, who increasingly meet at funerals, now move to join them, gently leaning on them, but also becoming a support for some of the young bodies. But before this tips over into intergenerational sentimentality, here comes the hard truth: the elders can’t win this battle, they’re going to die first. But the success of the younger ones is also fleeting: they will eventually follow. The young man with the tattoo inspires a beautiful thought: to die with the feeling of first love that would be his dream. Who doesn’t share this wish, no matter how old?”
Andreas Berger, Tanznetz, 03.09.2022

“In “Dance Me!” the performance collective She She Pop pits two age groups against each other in the style of a TV show: Five 20-year-olds have to hold their own in various disciplines against an over-50 quintet. However, unlike TV shows such as “Little vs. Big” or “Let’s Dance”, there is nothing to win, only less to lose. Both teams run out of steam as the evening progresses (…). Those who have retained some residual energy at the end – in this case the younger ones – can watch the others die.”
Stefan Arndt, Neue Presse Hannover, 03.09.2022

“The performers themselves belong to the over-50 age group. They have invited colleagues around the age of 20, some even younger. The representatives of both age cohorts compete as two teams in a kind of game show, the prototype of which was developed by She She Pop’s parents’ generation – back when television was gaining colour. Classic elements of boxing are adopted, with blue and red boxing coats to identify the rivals, with gongs that ring in each new round, with luminous displays and a square as the fighting arena. (…) The older performers routinely demonstrate the advantages of early childhood music lessons and manually recreate the songs of their generation on accordion, electric guitar and flute. The younger ones let machines perform, at best turning the knobs. On the other hand, the younger ones’ repertoire of movements is more flexible; they adapt their rehearsed moves more smoothly to the music presented to them by their elders.”
Tom Mustroph, taz, 20.01.2022

“The music is produced live, that is one of the most charming ideas in this overall very charming and also rousing evening, that the (participants) all make music themselves. But also that it is exactly the music that is dear to their hearts (…), the (participants) thereby have very different ideas of music. (…) One notices that there are deep rifts and the evening does not glaze over them (…), it is a mutual declaration of love.”
André Mumot, Deutschlandfunkkultur, 20.01.2022

“The accompanying dance interludes demonstrate a great love of abandon and choreographic commitment, pop culture reminiscences, charming, Macarena song-inspired arm and hip swaying, trance and improvisation. Body strength and weight are danced into the floor, repetitive formations are charted to club sounds, sequences of movements by individual performers translated into group images over and over again. These are beautiful images for tensions in which individual lifestyles meet zeitgeist, socialization and economy.”
Stephanie Drees, Nachtkritik, 19.01.2022