Diane for a day
How are identities made visible on stage - and how can we play with them? Inspired by the drag king workshops by the artist Diane Torr, Diane for a day investigates new ways of dealing with physicality on stage. Not only the performance of gender identities is examined and tested - the theatricality of one’s own privileges as well as those of others become the point of departure for jokes, anger and (self-)empowerment.
Die Butterblumen des Guten
What would happen if I could feed my friends to a meat-eating plant? And once they have been fed to it, would the plant then eat me, or would I eat it? What actually separates us from plants? How alienated are we from them in a time where we need them more than ever?Over the course of a séance in the style of the 19th century, the performers reveal their innermost feelings and use dance and song to reach the boundaries of the genre, the unexpected knowledge in which the big show is definitely hidden - somewhere between surrealism, dada and musical.
This dance performance illustrates the development of the human body from a single cell through to its ultimate form and focuses on the body in its physicality, complete with all of its strengths and weaknesses. No body is perfect. There is no absolute symmetry, no objective standard. All the same, human beings strive for precisely this; society wants perfection and optimization instead of accepting differences. Extremities is declaration of war using the tools of dance against conformity and superficial ideals that is as visually stunning as it is intimate.
face to face – Gegensätze
Five times two performers, each group performing for 15 minutes – it all adds up to a very colourful evening. Crisply brief and full of surprises. This is how the Thikwa series face to face works. The theme for this first round of encounters is “contrasts”. An open-air theatre series in the courtyard of the Thikwa-Werkstatt located at Fidicinstraße 3.
Hindernisse auf der Fahrbahn
For many years, the performer Ruth Geiersberger has carried a book around with her and quoted from it during performances: the collected texts of Ernst Herbeck, Im Herbst da reiht der Feenwind. Now she has dedicated an evening to him. Herbeck (1920-1991) spent half of his life in the Gugging Lower Austrian State Mental Hospital. He began writing poetry on the advice of his doctor, Leo Navratil. Together with Torsten Holzapfel, Tim Petersen and Klaus Janek on the double bass, Ruth Geiersberger reads and sings Herbeck poems and folk songs. What results is a musical-poetic tapestry consisting of spoken word, performance, theater, interaction and humor. An evening at the edge of language that gently reveals the tears in the backdrop of the world.
Oz, Oz, Oz! (W)Rap the Wizard!
Somewhere over the rainbow, a doubled Dorothy is flying over the Land of Oz. On the way to the Emerald City, not Chemnitz, where things will hopefully take off, she meets strong characters: the brainless scarecrow is actually really happy about the fact that you can get in everywhere for free with a “hunting license”. And the cowardly lion shakily raps a hymn to fear. Only the lady with the red pumps constantly tries to convince the group of travelers of her inadequacy. Thikwa has created a musical! And it’s anything but conventional. Rap meets electronic jazz, the performers sing and dance, but at the same time, the genre is put right through the meat grinder. A performative road movie about individuality and the hurdles of self-improvement.
Peter Pankow has worked as a writer, actor and visual artist for over 20 years - he is one of the most successful Thikwa performers and a painter who has received multiple awards. Here, this exceptional artist meets Dominik Bender, a very different multi-talent with a knack for wordplay, poetry and photography. The two of them have worked together on multiple productions for many years. Based in part upon very intimate interviews, a text has been created in which these two very different performers examine their artistic self-images and their value in society. A testament to thinking outside of the box - funny, enlightening and highly philosophical.
How is it possible to reach an understanding when one person blusters and swaggers, the other person can hardly intervene in a comprehensible manner, a third person claims to understand everything, a fourth person rushes in to help using sign language and a fifth person translates everything into dance? A hopeless mishmash of languages like the Tower of Babel? A hilariously funny look at trying out all the options of (mis)understanding? Or a conciliatory coming together of different techniques of reaching an understanding? Factual, post-factual or as fake news – Thikwa sets off into perceived realities. An encounter of translators, interpreters and know-it-alls with people who speak using body language and sounds.
Sieben … aber einmal auch der helle Schein
The number seven enjoys a special status and serves as a source of inspiration in many cultures - from the myth of creation to the seven deadly sins. In Sieben, seven avowed sinners delight in dedicating themselves to their own passions and vices through choreography and music, with a great deal of humor: their lust, their greed, their vanity, their jealousy, their laziness, their sex drive, their consumption. And, in doing so, they continuously and playfully explore morality, which always has to be reinvented and redefined. Texts by the Thikwa performers, created over the course of improvisations and interviews, are transformed into seven song compositions by the songwriter Susanne Betancor, known as Die Popette.
Subway to heaven
A childhood in the broom closet… but I don’t feel any compassion for that now! Said Martin Holzapfel to Torsten Clausen. Or something like that. Is the greatest utopia a world connected by subways? Where they maybe only play Berlin songs? Or are we talking about the profession of the actor while rolling our eyes? And what is actually the difference between plastic and plastic, that is, art and artifice?
Applause is the daily bread of the artist who lives on fame and the love of the audience. But what happens when this love is bought? When the audience prostitutes itself? Doesn’t that make the work of the performers (or johns) meaningless? In the end, is it a win-win situation or the end of the free expression of opinion? As long as the barter makes sense for both sides, there is no loser. More is more.The performance collective Monster Truck sets out together with the Thikwa performer Addas Ahmad to examine applause, the manipulation of opinions and the infamous 15 minutes of fame. Again and again and again.