The festival opens with a clash of cultures generated from a loving perspective on the local tradition of “Garde” dancing. In between the opening speeches choreographer Reut Shemesh presents a specially adapted version of her work WITNESS, which she devised together with the Garde dancers of the State Capital Düsseldorf.
Suffering can be turned into art and therefore money. ALL INCLUSIVE uses this insight to develop a cutting satire on how easily a Western audience may consume war and violence.
A man, a woman, a living room. In this setting the audience become witnesses to the noxious routines of a relationship in which intimacy invariably leads to brutality. The spiral of violence continues for over five hours: distressing and apparently inescapable.
Aus Leid kann Kunst und damit Geld werden. All Inclusive entwickelt aus dieser Erkenntnis eine böse Satire über die Leichtigkeit, mit der ein westliches Publikum Krieg und Gewalt konsumiert.
What is femininity? Who does it belong to? And why is feminisation regarded as something negative? Four performers describe their struggle to live feminine lives their own way. They use dance and language to draw intimate self-portraits from what they have experienced, what they have longed for and social realities between India and Western Europe.
Am Eröffnungsabend wird das Festival zum Turnfest. Acht Darsteller*innen führen auf der Bühne ein Schauturnen auf. Symmetrisch und synchron soll dieser deutsche Volkskörper sein — wer die Leibesübungen durch wiederholte Abweichung stört, muss gehen. Eine Inszenierung über die ambivalente Funktion des Turnens in der deutschen Geschichte.