Production platforms

Research & Production Platform TRANSIT #2 (2017-2019)

Transit Finale at the Dortmund Theatre (2019) – Final Presentation

WE, JANUARY 9, 2019, 6PM – THEATER DORTMUND (kick off on 6 & 7.10 at Ringlokschuppen Ruhr).

Within the framework of Cheers for Fears TRANSIT – Platform for Artistic Research and Production, six young artists and collectives developed positions in the fields of dance, theatre, experimental film and intervention over the course of more than a year. The final showing combined a choreography of material-human hybrids on the theatre forecourt, an installation on doomsday scenarios, object theatre on identities and belonging, a movement study on dizziness in the physical as well as philosophical sense, and a theatre work that dealt with images of self and others, prejudices and racisms.

In autumn 2017, young artists at the end of their studies came together for the kick-off of TRANSIT. They presented projects that they wanted to work on in transdisciplinary constellations and began to polish their ideas already on site. From around 20 projects presented, all the applicants themselves jointly selected six projects to be realized within the framework of TRANSIT. The platform offered non-hierarchical feedback and reflection on the working process in a colloquium, artistic and organizational mentoring, research and rehearsal space, and financial resources.

COLLECTIVE ZOO: SCUTUM STUDIES PERFORMANCE; 18:00 on the theatre forecourt

200 years ago, barricades were born on the streets of Paris against backward-looking politics. Now something new is piling up. A living and mobile architecture, similar to what the Romans formed with the help of their legendary Scutum shields. A choreography of material-human-hybrid beings allows a functional sculpture to grow, to which every spectator can position themselves. What will the barricade stand for or against? Who decides what they mean? The ZOO collective emerged from the master’s programme in scenic research at the Ruhr University Bochum and has been realizing works at the interface of choreography, performance and installation since 2015. Anja Plonka, Constantin Leonhard and Jens Eike Krüger compose their heterogeneous and aesthetic practices into evening-length happenings and events.
CONCEPT & REALISATION: Collective Zoo PERFORMANCE: Laura Brechmann, Silvia Ehnis, Giulio Hesse, Seulki Hwang Jens Eike Krüger, Constantin Leonard and Anja Plonka MENTOR: Claudia Bosse DANCE COACHING: Michael Dick.
The work premiered at the Ringlokschuppen Ruhr on 21 September 2018.

Installative insight into the work; from 18:30 in the theatre foyer

In ONE WORLD IS NOT ENOUGH (AT), Armada examined the impact of human activity on the ecosystem. The core idea was to develop a miniature world that was constantly changing. A lively microcosm was presented that showed and condensed complex connections between everyday actions and their consequences.. The miniature land was brought to life via beamer projection. Before the eyes of the audience, a live disaster film was created that relentlessly
showed the advancing demise of Homo Sapiens and asked the question: Can the world we live in still be saved? Armada Theater is a theatre collective from the Ruhr region that
confronts contemporary issues in a joint creative explorative movement.The premiere took place on 26 April 2019 at Maschinenhaus Essen. The productions revolve around universal questions; cultural phenomena are contrasted, open
pictorial values are created, contrasts exist vis á vis and leave room for the viewer’s own associations and interpretations.
ARTISTIC DIRECTION: Clara Gohmert & Michael Zier COMPOSITION: Este Kirchhoff STAGE DESIGNER: Aaron Stratmann PRODUCTION DIRECTION & DRAMATURGY: Anna-Lena Werner LIGHTING DESIGN: Simon Knöß COACH: Miloslav Juráni VIDEO: Anna Gohmert.
The premiere took place on 26 April 2019 at Maschinenhaus Essen.

Performance installation; 18:45, 20:30 & 21:30 at the Institute

The back of a stranger in the queue in front of you, the ticking of the clock in your ears. Time stretches like tough, chewing gum. The slowly advancing mass allows a certain, though
fragile, orientation, but the feeling of being at the mercy remains and makes us victims of an inferior experience of social power. Waiting is political; waiting gives us the feeling of fundamental
powerlessness. It is a forced non-action that throws us back on ourselves and shows us the limits of our actions. We are dependent, inferior and in the worst case scenario there is no
obvious perpetrator, no Goliath against whom we can revolt. Waiting makes one immoral, wrote Friedrich Nietzsche. But isn’t it immoral to make people wait? HUMAN WITH NO NAME AT ALL is an investigation of the phenomenon of waiting and the motives of waiting in our society. Amelie von Godin, *1993, also often waits. Born and raised in the south of Munich, she alternately fled to Antifa or P1 – until the theatre found itself as the golden mean. She studied Physical Theatre at the Folkwang University of the Arts.
CONCEPT & ARTISTIC DIRECTION: Amelie von Godin PERFOMANCE: Leonie Türke, Micha Baum, Jolinus Marten Pape COMPOSITION & SOUND: Gabriel Kleber CONTRABASS: Luca Müller LIVE CAMERA: Louisa Marie Nüble MENTOR: Laura Junghanns.

Theatre / Performance; 19:10 in the Studio

Two people see themselves thrown into the world. And existence awaits them with a load of packages. But what do the packages hold in store? What is available is both an offer and
an exclusion. How, then, to relate to that which already exists? Who can they be and become by the way they relate to the world? THE THROWN deals with the formation of identities
and affiliations based on social categories such as nation, gender, religion, work and others. Sepidar Theatre, founded in 2016, is a collective that works with forms of Puppet and Object Theatre as well as Physical Theatre. The thematic focus of her performances is a philosophical look at contemporary questions such as identity.
ARTISTIC DIRECTION: Mohammadhossein Mehrnejad, Bahareh Sadafi STAGE DESIGN & REQUISITE: Siavash Shahandeh PRODUCTION & PRODUCTION COACHING: Aylin Kreckel.


Theatre-makers Elikem Anyigba and Sebastian Bös re-enact life stories of the first Afro-German academic, Anton Wilhelm Amo (ca. 1703-1753). It quickly becomes clear that each of them has their own idea of Amos’ life: Is there a white and a black version of his story? The preoccupation with Amo thus becomes a confrontation with one’s own gaze. Anyigba, Bös and Meier came together in 2016 to work at the intersection of the documentary and the personal. They emphasise intensive research phases and deal with questions about historical narratives, the mechanisms and dynamics of their appropriation and the possibility of negotiating them in theatre performance.
ART DIRECTOR: Elikem Anyigba, Sebastian Bös, Astrid Meier CONCEPT & DIRECTING: Sebastian Bös MENTOR & CO-DIRECTOR: David Guy Kono PERFORMANCE: Elikem Anyigba, Sebastian Bös DRAMATURGY & DIRECTING: Astrid Meier PRODUCTION: Geraldine Gau SOUND DESIGN & COMPOSITION: Raimund Seitz LIGHT DESIGN: Birk-Andre Hildebrandt.
The work celebrated its premiere in June 2018 at the Studiobühne of the Ruhr University Bochum,
with further performances at the Rü-Bühne Essen on 25 and 26 January 2019.


A C A L S B: A re-performance of the duet “Tonight I can write the saddest lines”, Laura Brechmann
I wake up and call B.
B is anybody who helps me kill time.
B is anybody and I‘m nobody. B and I.
I need B because I can‘t be alone. Except when I sleep.
Then I can‘t be with anybody.
I wake up and call B
(Andy Warhol: Philosophy)
Laura Brechmann, Guilio Hesse, Marlene Ruther
Slowly, we have the feeling that we are getting nowhere
That is a pleasure which will continue
if we are irritated it is not a pleasure
nothing is not a pleasure if
one is irritated and then more and more and
and then more and more . . .
(John Cage: Lecture on Nothing)
CONCEPT & REALISATION: Laura Brechmann CO-PERFORMERS: Omar Guadarama, Guilio Hesse, Marlene Ruther MENTOR: Dwayne Holliday PRODUCTION COACHING: Anna-Lena Werner.
The premiere took place on 12 April 2019 at the tanzfaktur Cologne.

Cheers for Fears Transit is made possible by the Individual Support for Artists Artists and Creative People (IKF) of the State of North Rhine-Westphalia in cooperation with the European Centre of Creative Economy (ecce) and the Ringlokschuppen Ruhr.