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Some pics I took of LA MADRIGUERA [DER BAU]: 29 and 30/06/2024 It begins when everything already seems to be over. In a surreal, stage-like situation, we are invited to move through or find our spot in a room full of fragmented landscapes and displaced objects. And while some of us have the privilege to make ourselves comfortable on chairs and pillows, this is no longer an option in the world of the four performers. The sound drags us deeper and deeper down into the burrow - or is it a rabbit-hole? - where bodies crouch and (unfold, drifting through different states of pleasure and destruction. Where did they lose their sense of community? How to reconnect to the memories of their own past? From the experience of migration, displacement and assimilation La Madriguera/Der Bau creates a choreographic and performative encounter, questioning our sense of individuality and community. By bringing in elements of the Argentinian urban carnavalesque dance Murga and the dramatic genre Grotesco criollo, we search for our own traces of community inscribed in our own bodies. What other forms of existence and social encounters can emerge in a performative space? Performance: Noah Rees @noahre90 , Rocío 0’ Dezaille @rociosandra.ode Regie/Choreographie und Performance: Carolina de Vega @carolina.d.v Musikkomposition und Performance: Gustavo Obligado @gustavoobligado Sounddesign: Rocío Martínez Produktionsassistenz und Dramaturgie: Alina Saggerer @a.d.r.e.n.alina Lichtdesign: Asier Solana. Bühnenbild and instagram Fotos: Anna Klaine @ninakanale Bühnenbildassistenz: Diellza Zogaj @die.zo Kostüm: Sibel Latifova und Viola Krumrey Dramaturgie: Pau Hoff Fotografie und Video: Ana Iramain und Juan Nasra @1beduino Mentoring: María Colusi und Jette Büchsenschütz

I can't believe those pics from @joanalucasatelier are real. <3 Crash Landing on Olympus Mons by Dominique Tegho (2022) takes the act of landing as a point of departure. Two dancers open a fictional space by deconstructing gravity, holding hands, touching, singing and humming. Orienting their dance towards rethinking the body in relation to each other and their surroundings, bodies are witnessed as moving landscapes, and come in contact with the skin of the Earth: Rocks. Landing becomes not only a play with gravity but grows into a process of becoming with: a mode of relating, a state of arrival, generating alternative descriptions and seeking new politics. The performative space becomes an uncharted territory that provides possibilities of recomposing lives together and creating new sorts of kin in hard times. Choreography: Dominique Tegho @kokosmilchh photographer: Joana Lucas @joanalucasatelier Dance: Matilde Bassetti @tamilde Iokasti Kyriaki Zografou Mantzakidou @okasti_ disgusty Composition & live music: Alex Rap @thats_arapp Stage design: Anna Klaine @ninakanale Dramaturgy: Pauline Payen @pInpyn Light design: Sanja Gergoric Production: Milena Luise Stein @milenaluisestein

Rocks in action! Crash Landing on Olympus Mons takes the act of landing as a point of departure. Two dancers open a fictional space by deconstructing gravity, holding hands, touching, singing and humming. Orienting their dance towards rethinking the body in relation to each other and their surroundings, bodies are witnessed as moving landscapes, and come in contact with the skin of the Earth: Rocks. Landing becomes not only a play with gravity but grows into a process of becoming with: a mode of relating, a state of arrival, generating alternative descriptions and seeking new politics. The performative space becomes an uncharted territory that provides possibilities of recomposing lives together and creating new sorts of kin in hard times. Choreography: Dominique Tegho @kokosmilchh Dance: Matilde Bassetti @tamilde Iokasti Kyriaki Zografou Mantzakidou @okasti_ disgusty Composition & live music: Alex Rap @thats_arapp Stage design: Anna Klaine @ninakanale Dramaturgy: Pauline Payen @pInpyn Light design: Sanja Gergoric Production: Milena Luise Stein @milenaluisestein

Leia minha primeira fanfic: Dr. Rey Encontra o Teatro. I just released my first story, Dr. Rey Encounters Theatre: a fanfic.

I’m missing to be part of La Madriguera Familia, I enjoyed every second of being a stage designer of this performance 💖 Happy to post this amazing teaser by @__iramaina and @1beduino for LA MADRIGUERA/DER BAU [IN THE CITY OF FURY WE NEVER SLEEP] by CAROLINA DE VEGA Graduation piece of the Master of Arts Choreography at @hzt_berlin @hfs_ernst_busch **It begins when everything already seems to be over.** From the experience of migration, displacement, and assimilation, La Madriguera/Der Bau creates a choreographic and performative encounter, questioning our sense of individuality and community. By bringing in elements of the Argentinian urban carnavalesque dance Murga and the dramatic genre Grotesco criollo, we search for our own traces of community inscribed in our own bodies. What other forms of existence and social encounters can emerge in a performative space? — **TEAM:** - **Performance:** Noah Rees @noahre90 , Rocio O’Dezaille @rociosandra.ode - **Direction/Choreography, text, and performance:** Carolina de Vega @carolina.d.v - **Music composition and performance:** Gustavo Obligado @gustavoobligado - **Sound design:** Rocio Martinez @ro.m.oon - **Production assistance and dramaturgy:** Alina Saggerer @a.d.r.e.n.alina - **Light design:** Asier Solana - **Scenography:** Anna Klaine @ninakanale - **Scenographic assistance:** Diellza Zogaj @die.zo - **Costume:** Sibel Latifova @sibel.sl and Viola Krumrey @violakrisstina - **Outside-eye dramaturgy:** Pau Hoff @pau.hoff - **Mentoring:** Maria Colusi @mariamartacolusi and Jette Büchsenschütz @jette_ca - **Photography:** Ana Iramain @__iramaina - **Video and edition:** Ana Iramain @__iramaina and Juan Nasra @1beduino — **With the support of the Heinrich Böll Stiftung.** Das HZT Berlin wird getragen von der Universität der Künste Berlin und der Hochschule für Schauspielkunst Ernst Busch in Kooperation mit dem Netzwerk TanzRaumBerlin. [www.hzt-berlin.de](http://www.hzt-berlin.de)

Gus in action 💖 LA MADRIGUERA [DER BAU]: 29 and 30/06/2024 It begins when everything already seems to be over. In a surreal, stage-like situation, we are invited to move through or find our spot in a room full of fragmented landscapes and displaced objects. And while some of us have the privilege to make ourselves comfortable on chairs and pillows, this is no longer an option in the world of the four performers. The sound drags us deeper and deeper down into the burrow - or is it a rabbit-hole? - where bodies crouch and (unfold, drifting through different states of pleasure and destruction. Where did they lose their sense of community? How to reconnect to the memories of their own past? From the experience of migration, displacement and assimilation La Madriguera/Der Bau creates a choreographic and performative encounter, questioning our sense of individuality and community. By bringing in elements of the Argentinian urban carnavalesque dance Murga and the dramatic genre Grotesco criollo, we search for our own traces of community inscribed in our own bodies. What other forms of existence and social encounters can emerge in a performative space? Performance: Noah Rees @noahre90 , Rocío 0’ Dezaille @rociosandra.ode Regie/Choreographie und Performance: Carolina de Vega @carolina.d.v Musikkomposition und Performance: Gustavo Obligado @gustavoobligado Sounddesign: Rocío Martínez Produktionsassistenz und Dramaturgie: Alina Saggerer @a.d.r.e.n.alina Lichtdesign: Asier Solana. Bühnenbild and instagram Fotos: Anna Klaine @ninakanale Bühnenbildassistenz: Diellza Zogaj @die.zo Kostüm: Sibel Latifova und Viola Krumrey Dramaturgie: Pau Hoff Fotografie und Video: Ana Iramain und Juan Nasra @1beduino Mentoring: María Colusi und Jette Büchsenschütz

More I took during the rehearsals of LA MADRIGUERA [DER BAU]: 29 and 30/06/2024 It begins when everything already seems to be over. In a surreal, stage-like situation, we are invited to move through or find our spot in a room full of fragmented landscapes and displaced objects. And while some of us have the privilege to make ourselves comfortable on chairs and pillows, this is no longer an option in the world of the four performers. The sound drags us deeper and deeper down into the burrow - or is it a rabbit-hole? - where bodies crouch and (unfold, drifting through different states of pleasure and destruction. Where did they lose their sense of community? How to reconnect to the memories of their own past? From the experience of migration, displacement and assimilation La Madriguera/Der Bau creates a choreographic and performative encounter, questioning our sense of individuality and community. By bringing in elements of the Argentinian urban carnavalesque dance Murga and the dramatic genre Grotesco criollo, we search for our own traces of community inscribed in our own bodies. What other forms of existence and social encounters can emerge in a performative space? Performance: Noah Rees @noahre90 , Rocío 0’ Dezaille @rociosandra.ode Regie/Choreographie und Performance: Carolina de Vega @carolina.d.v Musikkomposition und Performance: Gustavo Obligado @gustavoobligado Sounddesign: Rocío Martínez Produktionsassistenz und Dramaturgie: Alina Saggerer @a.d.r.e.n.alina Lichtdesign: Asier Solana. Bühnenbild and instagram Fotos: Anna Klaine @ninakanale Bühnenbildassistenz: Diellza Zogaj @die.zo Kostüm: Sibel Latifova und Viola Krumrey Dramaturgie: Pau Hoff Fotografie und Video: Ana Iramain und Juan Nasra @1beduino Mentoring: María Colusi und Jette Büchsenschütz

Some beautiful pics taken by me of LA MADRIGUERA [DER BAU]: 29 and 30/06/2024 💖 It begins when everything already seems to be over. In a surreal, stage-like situation, we are invited to move through or find our spot in a room full of fragmented landscapes and displaced objects. And while some of us have the privilege to make ourselves comfortable on chairs and pillows, this is no longer an option in the world of the four performers. The sound drags us deeper and deeper down into the burrow - or is it a rabbit-hole? - where bodies crouch and (unfold, drifting through different states of pleasure and destruction. Where did they lose their sense of community? How to reconnect to the memories of their own past? From the experience of migration, displacement and assimilation La Madriguera/Der Bau creates a choreographic and performative encounter, questioning our sense of individuality and community. By bringing in elements of the Argentinian urban carnavalesque dance Murga and the dramatic genre Grotesco criollo, we search for our own traces of community inscribed in our own bodies. What other forms of existence and social encounters can emerge in a performative space? Performance: Noah Rees @noahre90 , Rocío 0’ Dezaille @rociosandra.ode Regie/Choreographie und Performance: Carolina de Vega @carolina.d.v Musikkomposition und Performance: Gustavo Obligado @gustavoobligado Sounddesign: Rocío Martínez Produktionsassistenz und Dramaturgie: Alina Saggerer @a.d.r.e.n.alina Lichtdesign: Asier Solana. Bühnenbild: Anna Klaine @ninakanale Bühnenbildassistenz: Diellza Zogaj @die.zo Kostüm: Sibel Latifova und Viola Krumrey Dramaturgie: Pau Hoff Fotografie und Video: Ana Iramain und Juan Nasra @1beduino Mentoring: María Colusi und Jette Büchsenschütz

KOSTÜM: DUMME BABYS WISSEN NICHT WIE MAN LIEBT!!! (2023) In einem Tanz des Ausdrucks tauchten wir über Rollen und Bühnen hinaus ein und umarmten die stille Sprache der Kostüme. Die Suche galt dem Flüstern der Erinnerungen, dem Widerhall der Emotionen, den Abdrücken von Erfahrungen – diesen subtilen Symbolen, wiedergeboren in tragbarer Rüstung. Auf der Vorderseite ihres Rocks befindet sich ein großes Nest, aus dem Fliegen herauskommen und in einem Meer aus Blut schwärmen. Der Helm, der die Rüstung vervollständigt, ist mit einem Eisengewicht aufgehängt, das es der Figur nicht erlaubt, nach vorne zu schauen. Hier fließt alles ab. Ihr Mieder besteht aus kleinen, scharfen Metallgegenständen, die sie bei der kleinsten Bewegung pieksen. Nur wenn sie nach unten blickt, liegt hier ihr größter Schwachpunkt. Ihr Schwert ist genau die richtige Waffe, um zu töten, was sie plagt: eine Fliegenklatsche.

ICH DACHTE, ICH WÄRE ANDERS (2023) MA Bühnenbild und szenischer Raum Photo by @sentitzendot Scrip writer, general concept, Sculpturist, Costumes Anna Klaine @ninakanale DOP, Editor, Light designer Paula Boo @sentitzendot Sound design Pier Giorgio with the help of Leonardo Valsecchi Script Analyst & Costume assistant Mateus Teixeira Object producer assistants Dexon Ferro Camila Sauer Mateus Teixeira Set Assistants Areen Abu Raddad Natalie Giannopoulos Mateus Teixeira General Assistants Henry Müller Eduardo Comin WATCH THE FULL MOVIE ON MY WEBSITE

MA Bühnenbild: „Ich dachte, ich wäre anders“ Scrip writer, general concept, Sculpturist, Costumes Anna Klaine DOP, Editor, Light designer Paula Boo @sentitzendot Sound design Pier Giorgio with the help of Leonardo Valsecchi Script Analyst & Costume assistant Mateus Teixeira Object producer assistants Dexon Ferro Camila Sauer Mateus Teixeira Set Assistants Areen Abu Raddad Natalie Giannopoulos Mateus Teixeira General Assistants Henry Müller Eduardo Comin WATCH THE FULL MOVIE ON MY WEBSITE

ICH DACHTE, ICH WÄRE ANDERS, 2023 🍔🌭🌮🌯🥙🥗🥪🍕🍟🍖🍗🥓 Photo by @sentitzendot