Marita Tatari über »Narkosis«


Charlie Fouchier in »Narkosis« © Sandra Man + Moritz Majce, 2017

Marita Tatari, Professorin für zeitgenössische Ästhetik an der HMDK Stuttgart, schreibt über »Narkosis« in ihrem Text »The Fading of an Archimedean Point: Stage and Audience Reconsidered«:

[…] This piece does not confront or fight a given arrangement of the world. Instead, it intervenes in our perception and restores it to its underlying plasticity or formability. Narkosis dives under the level of contents, identities and given forms, under the level of that which is being shown, down to the point at which “the eye rotates in its hollow.” It is not just a meditation on seeing. It opens up a space in which, for the duration of an evening, the audience can be an audience: it can be affected by the action of a gathering, which is deeply resistant to any given order. The piece addresses and enables a non-given-common as relation. It actualizes it in its audience as well as in the performers, and bears it along, bearing it jointly together. [..]

Vollständigen Text anzeigen.

Call for Participants: Relational Flow Workshop | May 2022


© Sandra Man + Moritz Majce, 2022

Berlin-based visual artist and choreographer Moritz Majce, working together with writer, video artist and choreographer Sandra Man, is looking for dancers/movers/performers to take part in their next Relational Flow workshop. The aim of the workshop is to find new people to work together in the long term. The next projects by Moritz Majce and Sandra Man will take place in summer (live outdoor installation, Jul till Sep), and later in the year (live multiroom installation, Oct till Feb).
The workshop is conducted in Berlin by Moritz (he/him, AUT) together with the dancer, performer and body coach Sigal Zouk (she/her, ISR).
About Relational Flow
Together with Sandra, Moritz is creating Space Choreographies: moving installations and walk-through live performances. Choreographic videos, installational objects, spoken lyrics, dancers and performers form fluid surroundings for spectators. In the centre of their work is the relation of nature, community and technology.
One basic element of Space Choreography is a spatial practice between several dancers that Sandra and Moritz started with the work Chora in 2019, and Moritz has since developed further: the Relational Flow. In essence it is about working with a space of attraction between bodies, developing a multidirectional attentiveness and relating to always more than one other body. Dancers take the relations between each other and to visitors as impulses and as material: they let themselves be moved by proximity and distance, by spatial affects. They dance the connections between the bodies, thereby creating simultaneous streams of movement that spread from bodies through bodies to other bodies. Relational Flow practices the intensification of the bodies‘ sensitivity to each other and develops a common vocabulary of relating that is visible to the outside. For visitors, whose concrete presence in the space becomes part of the dancers‘ movements, it feels as if the flow of movement is passing through them. A common space is created by bodies moving together and allows visitors to relate to it in a different way. One feels how the movements of the dancers form a both common and heterogeneous group body, experiences oneself as “being danced”.
Relational Flow follows certain principles, but is fundamentally plastic. The work changes with each dancer who joins. It is an attempt to realise a different corporeal relation to the audience (we rather call them “cohabitants”) as well as inbetween dancers/performers. From a dancer´s perspective it is about taking the spatial and physical reality of the visitors seriously, leaving the concept of performing subjects in front of disembodies eyes behind, rather caring for and sharing a relational space with cohabitants. It follows a basic intuition that connects the practice with a specific understanding of inclusion.
See also: The Basic Principles of Relational Flow

Organisational Details
The workshop takes place in Berlin. It consists of one intro-day (half day, 4 hours), followed by a 4-day workshop (à 4 hours + 30 min break per day).
The intro day will take place on 7, 8, 9, and 10 May (it will be only one of these days for you in case we invite you). The intro day serves both sides to find out whether we and you want to continue working together in the actual workshop.
There will be two 4-day workshop units, which take place from 14–17 May, and from 19–22 May (i.e. it would be either one of these periods for you). The four workshop days are paid (€350 total), the intro day is not paid.
The workshop is independent from our projects, we see it however as a way to meet new people and find out if they and us feel like working together. The reason for doing this workshop is to find new people we want to work together in the long term. Our next projects will take place in summer (outdoor work, Jul till Sep), and later in the year (multiroom work, Oct till Feb).
For whom
Professional dancers/movers/performers; preferably Berlin-based (this is not a must but we cannot cover travel and accomodation costs).
For the development of the practice, each individual’s identity and experience are crucial and welcomed. We encourage dance artists from diverse cultural backgrounds, BIPOC and all gender expressions to apply. If you are interested and want to know more about our background and experience, please feel invited to contact us.
• strong movement background (experience in contemporary dance, and/or further movement practices, such as urban dance, breakdance, martial arts, acrobatics, somatic practices)
• solidly skilled and deeply grounded dancer/mover/performer
• substantial experience of performing on stage
• experience and interest in moving in and as a group
• sensitive and intuitive, as well as accurate and specific
• capable of both boldness and fragility (from holding the space on your own to caring for others to feel included)
• persistence (Relational Flow´s multifocality can be demanding, and needs time and trust to unfold)
Application Material
• some information about yourself and your experience with moving/dancing/performing
• a text (max. 1 page) – or if you prefer video –, in which you explain why you are interested in taking part
• some video links where you can be seen moving/dancing/performing in a way that allows us to get a feeling of your presence and capabilities
Please send your material to this email address:
Application Deadline
1 May
As the first intro day will already start a week later (7 May) we ask you to apply as soon as possible. If we find your application interesting, we would like to contact you for a video talk.
Further Information /

In Return – 23.-26. Februar 2022 @ Open Spaces Festival, Tanzfabrik Berlin


© Sandra Man + Moritz Majce, 2020

Raumchoreographie mit Live Installation und Space Poem
Open Spaces Festival, Tanzfabrik Berlin

Wir sind hier, zusammen. Wir sind woanders, allein. Zwischen dem Hier und Jetzt der Gemeinschaft und der Weite des Alleinseins findet In Return statt. Die Arbeit hat begonnen als Auseinandersetzung mit dem Paradies als speziellem Ort: Raum vor der Trennung von Körper und Umgebung, von Leben und Tod, von Göttlichem und Irdischem. Das Paradies ist der Ursprung alles Lebendigen und jedem Lebenden unzugänglich. In ihm sind alle Arten vereint und jede*r betritt es allein.

In der Live Installation Habitat schafft der Künstler und Choreograph Moritz Majce mit den Tänzer*innen Ágnes Grélinger, Mikael Marklund, Florencia Martina, Dorota Michalak und Sarah Stanley ein fließendes Miteinander. Sich aufeinander und die Besucher*innen beziehende Bewegungen machen eine Umgebung, die durch die Körper hindurchgeht. Die Künstlerin und Autorin Sandra Man zeigt Telos, ein Video, gedreht mit der Tänzerin Assi Pakkanen in der abgelegenen Landschaft eines alpinen Gletschers. Der einzelne menschliche Körper verbindet sich mit seiner Umgebung, taucht in sie ein, tritt aus ihr heraus.

Die Besucher*innen driften von der Live Installation in den Bildraum. Zwischen Körper und Imagination entsteht eine Bewegung aus Zusammenkunft, Abschied und Wiederkehr.

25.02.2022 Artists Talk mit Sandra Man + Moritz Majce im Anschluss an die Vorstellung

Mittwoch 23.02.2022 19:00
Donnerstag 24.02.2022 18:00
Freitag 25.02.2022 18:00
Samstag 26.02.2022 18:00

Tickets: €10 / €15 Förderticket / €20 SoliTicket

Tickets kaufen HIER

Adresse: Uferstudios, Studio 5, Badstraße 41A / Uferstraße 23, 13357 Berlin

RAUM + CHOREOGRAPHIE: Moritz Majce VIDEO: Sandra Man PERFORMANCE LIVE INSTALLATION: Ágnes Grélinger, Mikael Marklund, Florencia Martina, Dorota Michalak, Sarah Stanley KÖRPERTRAINING: Sigal Zouk VIDEO PERFORMANCE: Assi Pakkanen IDEE + KONZEPT SPACE SUITS 3.0: Moritz Majce KOSTÜMDESIGN: Nina Loxton INSIDE EYES: Jorge de Hoyos, Moo Kim PRODUKTION: Tiphaine Carrère KÜNSTLERISCH-TECHNISCHER SUPPORT: Marc Lagies VIDEODOKUMENTATION: Hana Khalil, Mariel Baqueiro STAGE HANDS: Hugo Baudouin, Pers Mastori, Bruno Aguirre, Merlin Andrae

Eine Produktion von Sandra Man + Moritz Majce
Koproduktion: Tanzfabrik Berlin

Gefördert vom Hauptstadtkulturfonds. Mit freundlicher Unterstützung von Land Kärnten Kultur. In Zusammenarbeit mit Collmot Research/Skybrush.

Folgt uns auf Instagram: Instagram

Niklaus Largier on Chora: Mesmerized


Chora | Open Spaces Festival, Tanzfabrik Berlin | 9.11.2019

Conceiving of ourselves as viewers at first, we often turn into participants. What seems to be observation and abstraction becomes absorption, immersion, experience in time. Reading turns into feelings of sweetness and bitterness; looking into taste, appetite and arousal; hearing into affective pleasure and melancholic longing; touch into an abyss of desire.

I am tempted to start with a simple scene. A multipurpose room with an old hardwood floor, once used as a gym, in what is probably an ex-GDR school building in Berlin, Pankow. Sitting on a chair, I am observing a group of dancers rehearsing, working towards a future performance. A choreography, Chora. The Earth is a foreign planet. Every day it shows a different face, produced by Moritz Majce and Sandra Man. Silence reigns, except for the faint hum of a freeway in the distance, and for irregular moments of sound produced by the steps of the dancers. From time to time hints of a minimalist soundscape float in the air, mostly rhythmical echoes that don’t distract from the bodies that move. This is all there is. Bodies that move, bodies in no explicit form of interaction, bodies in space and time. Bodies that give form to space and time; involving me, while I am sitting there: attracting the gaze, holding it, redirecting it, absorbing all the senses, affects, and thoughts into the new space and time that unfolds here. It is, we might say, nothing else than a landscape of figural effects and of movements; a landscape where sensation and imagination converge in blissful play; a landscape of beauty.

I think, surprisingly, of Hume’s skepticism and his happiness in scenes of eating and conversation—and of his melancholy that came about when he engaged in philosophical matters. Looking at the movements of the dancers unfold, I don’t think of concepts. Instead, thought itself turns into movements of perception and feeling; and, starting in a critically descriptive mode, I find myself a skeptic absorbed in a dream of sensation. Looking at the dancers, sensing the movements, I think of angels. Angels, each of them singular and not bound by the hierarchies of thought, engaging each other in a form of language unknown to us. Angels, as in the drawing of Paul Klee that Walter Benjamin loved, looking back towards the ruins of history and alluding to a language that restores what is lost. Angels, as in Rilke’s vision, terrifying in their beauty and always close, too close to us in their intimate movements and presence. Angels, also, deeply immersed in the broken world, carrying all its passions, its desires, its senses in their silent voice. In Wallace Steven’s words “the necessary angel of earth, / Since, in my sight, you see the earth again.”

Or, shifting to another image, I think of bodies, just resurrected from the womb of the earth, seeking the words and the language they don’t have, yet fully alive in this tentative world of moving encounters. Bodies, encompassing all, humans and animals, flowers and stones, rivers and landscapes; hierarchies lost in the flow of the forms.
What remains, in this state of a different time and perception, is the figural play of the bodies alone, a play that takes shape both outside of and in our souls, fully material and fully spiritual. It would be wrong to speak of depth here, of meaning, or of a world. All this, even the allegory of angels or of resurrected bodies that I am happy to produce, is being undone. It is being undone, time and again, and replaced by the pull of the movements, the series of impressions, the axes of gaze and sensation, their layerings and circulation, in short, by mesmerizing effects of figures and configurations—not figures of life, but of living in the blissful multitude and beauty of silent voices.

Watching the undoing of social, racial, and discursive subjugations in these movements I think, thanks to Rahma, also of Audre Lorde when I write this. Of her “Poetry Is Not a Luxury,” and of the sentence: “The white fathers told us, I think therefore I am; and the black mothers in each of us—the poet—whispers in our dreams, I feel therefore I can be free. Poetry coins the language to express and charter this revolutionary awareness and demand, the implementation of that freedom.” In that essay, she concludes: “For there are no new ideas. There are only new ways of making them felt, of examininng what our ideas really mean (feel like) on Sunday morning at 7 AM, after brunch, during wild love, making war, giving birth; while we suffer the old longings, battle the old warnings and fears of being silent and impotent and alone, while tasting our new possibilities and strengths.” This, the “tasting” of possibilities and strengths, in the undoing and remaking of figures, comes into view here—not in poetry this time, but in the silence of dance, nourished by the cosmic dreams it embodies in its figures and unfolds in the mesmerizing effects that so blissfully unsettle.

Niklaus Largier: Figures of Possibility, to be published in 2020

Aeon (II) August 5 – August 12 2021 @ Tanzfabrik Berlin


Aeon (II), Laura Siegmund © Moritz Majce + Sandra Man, 2021


Open Air Live Installation.
Free admission.

Aeon is the time of the planet, geological transformations take eons. They exceed the presence of the humans, they embed them into the long duration of the landscape.

In two parts, the artist and writer Sandra Man and the artist and choreographer Moritz Majce, each of them together with three dancers, invite you to meet in the urban nature of a wasteland in Berlin Lichtenberg. Located next to the six-lane Landsberger Allee, surrounded by apartment blocks and shopping malls, you will find a place opening itself up to silence, vastness and to the future.

Landsberger Allee 320, 10365 Berlin
Entrance: Gate at the roundabout at Möbel Höffner

Part I
Sandra Man: The Reunion

August 5 + 6, starting at 19.30

In a live installation of two texts, dedicated to The Swamp and The Street, Lisa Densem and Joséphine Evrard let themselves be moved by the real landscape and by imaginary ones. Delving into the deep times of the planet, we will come together elsewhere.

Joséphine Evrard at Aeon

Joséphine Evrard at Aeon, 2020

Lisa Densem at Aeon

Lisa Densem at Aeon, 2020

Laura Siegmund at Aeon II

Laura Siegmund at Aeon, 2020

Together with the performers, Sandra Man is working on ways of speaking a text that open up to the ones who are present as well as to a future. The continuous speaking of the performers and the vastness of the landscape without stage and auditorium allow for a new relation between speaking and listening. The words are calling us, and at the same time the tale is far away. The voices are addressing us, and at the same time they are going somewhere else. Within kindness and intimacy an unfamiliarity is welcomed; inside of nature the artificial is allowed to appear; within the human the program can reveal itself. At the periphery of the city, at the limit of being human, speaking and listening continue outside, in a new landscape.

One text is in English, the other one in German. The English translation is by Anna Galt.

PLEASE NOTE: This part was originally performed by three dancers, including Laura Siegmund. This time, Laura cannot take part.

The area is freely accessible at your own risk. The daily Corona regulation of the state of Berlin applies. Currently open air no testing obligation.

Part II
Moritz Majce: The Clearing

Monday, August 9, 19:00–21.00, open doors from 19:00–20:00
Tuesday, August 10, 19:00–21.00, open doors from 19:00–20:00
Wednesday, August 11, 19:00–21.00, open doors from 19:00–20:00
Thursday, August 12, 19:00–21.00, open doors from 19:00–20:00

Together with Jorge Rodolfo De Hoyos, Samuel Draper, Mikael Marklund, Moritz Majce will present The Clearing.

One year ago, after the first lockdown, artist and choreographer Moritz Majce started to work intensely on Relational Flow, a movement practice that aims to create a living space in-between bodies. Letting themselves be moved by each other, the dancers take the relations between their bodies as source and material; they constantly feel where the others are and allow this sensation to move them.

From the beginning, Relational Flow, has been a practice not only in-between the dancers who are rather activating than performing it, but it includes also the visitors. Understood as sensing bodies rather than as watching spectators, the moving space is flowing through the audience and is happening around them, crossing and enveloping them.

Relational Flow is an ongoing practice research that fully unfolds itself only in the presence of visitors. In the frame of Aeon II the part named “The Clearing” is dedicated to the experience of Relational Flow. Inviting every body into the flow of presence it creates a sensation of being together even when we are apart from each other. Taking place on the vast wasteland on Landsberger Allee, “The Clearing” is opening up the space in-between us humans within the landscape.

For questions and more info please write to

Reviews Aeon:

Felicitas Zeeden „Zu Aeon – Spuren der Ewigkeit“
Laura Siegmund and Sandra Man on their collaboration
Beatrix Joyce on Aeon

IDEA + CONCEPT SPACE SUITS 2.0: Moritz Majce COSTUME DESIGN: Kristina Weiß-Busch TRANSLATION: Anna Galt PRODUCTION: Tiphaine Carrère

A production by Moritz Majce + Sandra Man
Coproduction: Tanznacht Berlin

Supported by the NATIONAL PERFORMANCE NETWORK – STEPPING OUT, funded by the Federal Government Commissioner for Culture and the Media as part of the initiative NEUSTART KULTUR. Hilfsprogramm Tanz.

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Neue »Live Art« Schreibplattform STREAM


Stream ist eine Plattform für Texte, die sich mit »Live Art« im weitesten Sinne beschäftigen.

Während des ersten Lockdowns im Frühjahr 2020 wurde die Idee für eine Schreibplattform geboren. Wir kamen zusammen als eine Gruppe von Tänzer*innen, Performer*innen, Choreograph*innen und Kurator*innen, die sich mit Live-Kunst beschäftigen und den Wunsch haben, zu schreiben. Wir haben Stream gegründet, weil wir einen Kanal für das Schreiben über Live-Kunst wollen, der weder Tagesgeschäft noch akademischer Betrieb ist.

Im Interview mit Elena Philipp von der Zeitschrift TanzRaumBerlin beschreiben wir unsere Motive und Beweggründe:

Kanal für die Schreiblust (1)
Kanal für die Schreiblust (2)

Die aktuellen Autorinnen sind: Angela Alves, Sasha Amaya, Beatrix Joyce, Inky Lee, Sandra Man, Lea Pischke, Nicola van Straaten, Susanna Ylikoski, Felicitas Zeeden.

Aeon – 10.-13. September 2020 @ Tanznacht Berlin


Aeon, © Moritz Majce + Sandra Man, 2020

Outdoor Live Installation

Tanznacht Berlin

10.-13.9., täglich um 16:45 ab Tanzfabrik Berlin Wedding
Begrenzte Teilnehmer*innenzahl: 14
Dauer: 3 Stunden
Eintritt frei, Zeittickets hier
Kurzinfo: Hier



Aeon ist Fortsetzung und Neuanfang.

Wir arbeiten an Relationen. An Bezügen von sich bewegenden Körpern untereinander; an Relationen zur Umwelt, zur Sprache; an Begegnungen mit Publikumskörpern. Diese immer mehrfachen Bezüge sind das Material unserer Arbeit. Sie brauchen Raum.

Von Anfang an – seit Festung / Europa (2015) und dann in allen darauf folgenden Arbeiten – sind unsere Choreographien vor allem Raumwahrnehmungen und Raumempfindungen: Abstände, Zwischenräume, Nähe und Ferne, Berührung und Weite spielen die Hauptrolle. Wir arbeiten mit Anziehungskräften zwischen Körpern, Körpern und Objekten, Körpern und Bildern, Körpern und Texten. Wir richten die Aufmerksamkeit auf das, was in all seiner Fremdheit zueinander hin will, sich für einander interessiert, miteinander verschmilzt, sich voneinander entfernt. Dabei setzen wir Bewegungen frei, die weder von dem einen noch von dem anderen kommen, die einem Raum zwischen uns entspringen.

Zwischen uns ist Schauen, Sprechen, Hören, Gehen. Die sinnlichen Attraktionen: Zuschauen, Anschauen, Zuhören, Sprechen, Hingehen, Mitgehen, Dabeisein werden zu den eigentlichen Handlungen. Sie kommen aus einem räumlichen Miteinander: Mit jedem Blick, jedem Schritt, jedem Ton, jedem Wort ändert sich der Bezug zwischen uns; wir kommen einander näher, wir entfernen uns, wir verlieren einander, wir treffen uns wieder. In unseren Arbeiten ist nicht nur wichtig, was man sieht oder hört, sondern dass Sehen, Hören, Gehen in diesem Moment und miteinander geteilt – zwischen uns – geschieht.

In unseren bisherigen Arbeiten und besonders in der letzten – Chora (2019) – trat vor allem der Raum zwischen uns Menschen auf. Der Raum, der zwischen Performenden und Zuschauenden/Teilnehmenden entsteht, immer wieder neu und immer wieder anders, in permanenter Bewegung und von niemandem beherrscht.

Jetzt, in Aeon kommt die Anarchie des Raums aus der Weite. Die Arbeit findet draußen statt, auf sehr großen Brachen. In diesem Raum der Weite sind die Menschen sehr exponiert und sehr klein. Es ist da draußen nicht mehr nur der Bezug untereinander, der aufscheint, sondern der zu allem anderen, was außer uns da ist: Boden, Wetter, Pflanzen, Himmel, Licht. Es gibt eine Umgebung, die sich permanent mitteilt.

Aeon ist die Zeit der Landschaft, die Zeit der Erde, die Zeit der Bewegungen, die uns umgeben. Eine so lange, so grundsätzliche Zeit, dass wir irgendwann anfangen, sie als Raum zu empfinden, weil sie uns gar nicht mehr wie der Verlauf von Zeit vorkommt.

Aeon ist eine »Raumzeit«, eine Zeit, die sich in Raum verwandelt.


Aeon ist unsere erste Arbeit vollständig draußen.

Kein Studio, kein Vorbereitungsraum. Wir waren immer dort, wo wir unsere Arbeit auch tatsächlich zeigen, wohin wir unsere Besucher*innen einladen; wir haben in den letzten Monaten freie Flächen in der Stadt – Brachen – gesucht und uns dort getroffen. Wir haben nicht nur draußen an etwas gearbeitet, sondern mit dem Draußen.

Draußen ist die Abhängigkeit vom Wetter, das Ausgesetztsein diversen Störungen wie Lärm, andere Leute, Polizei; draußen ist alles viel inspirierender und alles viel anstrengender. Draußen ist der Raum, den man jeden Tag neu entdecken kann; und draußen ist der Raum, der die Fragilität der Körper unterstreicht: Draußen ist groß, weit, laut, oft zu heiß oder zu kalt oder zu nass.

Draußen ist alles jeden Tag anders, jedes Mal wieder entsteht erst ein Dasein; selbst wenn man über Monate regelmäßig an denselben Ort kommt, betritt man jedes Mal wieder ein neues Gelände, man schaut sich unwillkürlich um und registriert, was sich verändert hat. Man kommt nicht in einen quasi unbemerkten – verlässlichen, geschützten, stabilen – Raum, um darin »etwas« zu tun; man kommt in ein Licht, das heute wieder ganz anders ist und spürt die Luft, den Boden, hört den Sound der Straße und der Vögel, der eigenen Schritte. Man scheitert, wenn man im Raum von gestern arbeiten will. Man muss die Bezüge jedesmal wieder finden und herstellen: sehen, hören, spüren, erkunden, empfinden, wo man jetzt gerade ist.

Der Raum draußen ist nicht beherrschbar. Es gibt immer Eingriffe – die anderer, die in der Zwischenzeit da waren und irgendetwas dort gelassen haben; die vom Wetter – Pfützen vom Regen, Pflanzen, die heute neu blühen oder solche, die endgültig vertrocknet sind.

Das Draußen dieser Arbeit, die Brachen, sind Stellen, an denen Eingriff und Sichselbstüberlassen aufeinandertreffen, Technik und Autonomie, Intention und Spontaneität, Zukunft und Gegenwart. Bauland mit der Absicht, darauf etwas zu errichten, Brachland, auf dem jetzt Pflanzen wuchern und Müll sich sammelt.

Im Unterschied zu Ruinen haben Brachen keine Geschichte. Sie öffnen eine bestimmte eigene Zeit: Sie liegen zwischen der Gegenwart, in der sie nicht genutzt werden und einer Zukunft, die meist geplant, aber zugleich offen ist.

Die Brachen gehören jemandem, sie sind Privatbesitz und man darf sie nicht betreten. Zugleich kümmert sich niemand um sie, sie verwildern. Sie sind nicht öffentlicher Raum, aber sie sind ein offener Raum in der Stadt, ein Riss durch die Nutzungen.

RAUMCHOREOGRAPHIE: Moritz Majce + Sandra Man VIDEO + RAUM: Moritz Majce VIDEO + TEXT: Sandra Man CHOREOGRAPHIE + PERFORMANCE: Lisa Densem, Joséphine Evrard, Charlie Fouchier, Nitsan Margaliot, Laura Siegmund, Maya Weinberg SPACE WALKERS: Shelley Etkin, Bar Gonen, Valérie Kommer, Inky Lee, Assi Pakkanen, Lisa Stertz, Susanna Ylikoski GUIDE: Gabrielle Cram OUTSIDE EYE: Sigal Zouk PRODUKTION: Patricia Oldenhave ÜBERSETZUNG: Anna Galt STIMMAUFNAHMEN: Fernand Kenzler

Eine Produktion von Moritz Majce + Sandra Man, gefördert aus Mitteln der Berliner Senatsverwaltung für Kultur und Europa. Koproduktion: Tanznacht Berlin.

Tanzfabrik Berlin • Uferstraße 23 • 13357 Berlin

Facebook-Event hier

Folgt uns auf Instagram: Instagram

Video-Übertragung von »Chora (Satellite Views)« am 16.4.2020 auf WUK performing arts


Chora | Stillshot vom Open Spaces Festival, Tanzfabrik Berlin, 2019

Von heute an hätten wir eine neue Live-Version unserer Arbeit Chora im WUK performing arts in Wien präsentiert. Aufgrund des Virus ist das jetzt nicht mehr möglich.

Stattdessen senden wir am Abend des 16.4.2020 um 20.30 Uhr MEZ ein Video auf der Seite von WUK performing arts, das auf der ersten Episode von Chora vom letzten November in Berlin basiert.

Anmeldung zum Facebook Event hier.

Zusätzlich veröffentlichen wir ein ganz besonderes Stück: die Textdokumentation von Chora der Autorin und Performerin Beatrix Joyce.

Publikumsstimmen zu Chora


Chora | Concrete Runners | 2019

»Es ist ein wirklich einzigartiger Raum, den ihr geschaffen habt. Auf eine Weise unaufgeregt und tief berührend zugleich, die ich noch nie erlebt habe. Ich war sehr glücklich darin.«

Christine Börsch-Supan

»Dears Sandra and Moritz. I came to watch Chora and I found it very precious and deep. I loved how it is so connected with bodies, persons and relations but speaks to me at the same time about the world, the environment and human/nature. I loved the installation and the dance and how the two are interdependent. It opened new possibilities of imagination and I loved as a public member to be inside this game/performance/state of being.«

Elena Dragonetti

»Ich liebe den Raum, den ihr kreiert habt, die Filme, die Präsenz. Am Ende habe ich bemerkt, am besten ist es, wenn ich mich mitbewege und beeinflussen lasse von der Umgebung, dann ist jedes Teil ein Element vom Ganzen.«

Joséphine Evrard

»Thank you for the space you created with Chora. I was there on the last day for many hours, and I experienced a peace that I rarely feel within art. A lot of accepting, specific energy from the performers that was very unique and ego less. There was something very safe in the space and I am grateful to have been there and absorb and just be. I felt very connected to this work, and I am happy for experiencing it, visiting this poetic world.«

Anna Fitoussi

»Sorry for my thousands of likes but I am in love with your project Chora?
Thanks for sharing it at Tanzfabrik.«

Paola Fontana

»I was very moved and inspired by the work I saw from you and Sandra. There were so many layers of my self in context to your work that I had to transgress, but once I did, it was like a doorway to another world of feeling and sensation and new spaces and possible paths. I was very happy to have experienced it. And I really mean ‘experience’, because I think If I had just watched, I wouldn’t have understood all that the inside of that work was offering so generously and so efficiently. So thank you both again. I think my words aren’t doing my experience of it all justice.. but I just wanted to express how happy was to have been there and to have stayed. Thank you«

Jared Gradinger

»I wanted to say thank you !
I really enjoyed your work, enjoyed entering this whole world of Chora. It felt like something very special to come on a Saturday morning after breakfast and being able to take part for some moment. This world you created felt very open, opening up, transparent, inviting, stimulating, as if answering open questions somehow. Always something subtle changing and giving a new impulse, a new tempo, some new information: let it be your movement, some change of bodies in space, the connection in between, all platforms, the videos changing, the light, the doors opening, fresh air, new colors, new visitors.. I enjoyed it all.«

Friederike Heine

»Ich wollte euch sagen, dass mir die Performance unglaublich gut gefallen und mich sehr berührt hat und ich froh bin, den Tag miterlebt zu haben!«

Lara Lehnert

»I came in without knowing and expecting what to happen, not even much about the program of Tanzfabrik. I walked in, stood in the space to experience what is happening, then visiting the space to see what is there; the screen, the poem, the landscape (video and reality), the materials, the people/ performers… it seemed to me that the setting was participatory since we, the audience, are not assigned any specific way of being in the space (apart from some pillows on the brown square blocks). Then I asked myself how much I am also creating the landscape and how much I can be involved. Then I see the poem about cells, eyes, skin, and I embodied them in a way that I am part of the everything, like an animal walked into the human made nature. It took some time to settle, text the boundaries, and not to disturb the space and the habitants, and it was a meeting to the existing things in the space, and I feel happy to be noticed that I am there but not overly taken care, it gives me space to keep regenerating my senses and thoughts. Sliding was fun, meeting through clashing softly and meeting bodies, being in the space with others, thanks for allowing.

I enjoyed the screen was placed outside the studio. Seeing the reflection of people dancing on the window with the poem together have brought me a special way of seeing the space. Thank you once again for the creation.«

Cary Shiu