ORACLE and SACRIFICE 1

In order to ensure that you can visit the FFT in times of the coronavirus, we have to change the procedures for our events and the purchase of tickets. We take the protection of our guests and our employees very seriously. For this reason, hygiene rules currently apply at our events

More about a visit to the FFT during the Coronavirus

What if we carried our future within our organs? The Babylonian as well as the Etruscan people conducted extispicy to learn about the political future from the entrails of killed animals. Do our organs, too, allow for a glimpse into cosmic constellations and coming decisions and communities? As artist and director Claudia Bosse’s first solo, ORACLE and SACRIFICE 1 fingers for the inward and the outward of the body and the world.

Together with accomplices* and organs, the performance opens a space in which the victims*, the future, and the identities of current subjectivisation are handed a challenge. Nothing less than our bodies, our organs, their relations with the world, dead meat, all this is at stake.

Why do we think our voices are as unique as a fingerprint? Who decides whom to silence and who gets to raise his* or her* voice? In the international coproduction series “Who is speaking?”, the voice and the body become the jumping-off points for a changed rapport between ourselves and the world. Artists* from Sweden, Canada, Australia, Austria, the Netherlands and Germany probe for new relationships between humans and other actors*. Additionally, they test unusual forms of collaboration that not only change each individual, but also generate different, future means of cooperation. Siegmar Zacharias, Neha Chriss, Eroca Nichols, Mithu Sanyal and Steve Heather, Iggy Lond Malmborg, Keren Levi and Claudia Bosse – work with radical body practices and utilise different hacking methods that question the power of that which we perceive as “normal” or “natural”. The “Who is speaking?” series tries out new forms of being together in theatre. The audience is invited to rediscover their own perception and capacity to act. With this, the FFT does not only continue its work on pots-humanistic, de-colonial and queer-feminist artistic strategies, it also actively experiments with a changing theatre in the (post-)pandemic era.

more prdouctions from the series