The Song of the Earth

The Song of the Earth

The Song of the Earth
from NOVOFLOT, after Gustav Mahler
Music Theater | World Premiere
October 12.-14. & 19.-21.| 20:00

Gustav Mahler’s famous work – revised for the 21st century by NOVOFLOT.

Gustav Mahler (1860-1911) was an idiosyncratic pioneer of musical modernism, which broke the then widespread will to systematic homogeneity and moved in favor of contradictory musical patchworks. The Berlin opera company NOVOFLOT works similarly patchwork-like. Newly composed as well as improvised and already existing music weave together into a newly invented music-theatrical context. In the midst of a scenic, danced and cinematic environment in which Mahler’s composition would never be suspected, auditory and visual axes appear, making the famous cycle of songs not recognizable as a work of art of a bygone era, but as an organism with extremely active volcanic properties. And fierce smoke signals announce a coming eruption.

Press reactions about NOVOFLOT:

“Eliminating gravity and then being able to juggle with elements of music theater without having everything fall to the ground is a specialty of Novoflot.” (Der Tagesspiegel)

“A seduction to the genre of opera. The ingenuity lurks in all corners of the production.” (TAZ)

“Loud, disenchanted world, and yet … whitewashed with that breath of dreamy hope that makes it a laboratory where faith is possible again – even a discursive contemporary music theater.” (Opernwelt)

NOVOFLOT is a free Berlin opera company. It was founded in 2002 and since then has produced more than 25 productions. Novoflot are: Sven Holm, Vicente Larrañaga, Malte Ubenauf and Dörte Wolter. Production and venues of NOVOFLOT were among others.: Hamburg State Opera, Théâtre National du Luxembourg, Trafó in Budapest, Transmediale, Radialsystem, Sophiensaele, the Haus der Berliner Festspiele, Hamburger Bahnhof, Akademie der Künste, Volksbühne am Rosa-Luxemburg-Platz and Gare du North in Basel.

In 2014, NOVOFLOT were awarded the George Tabori Prize.
Trailer George Tabori Preis 2014
The Bibel – Interpreted by NOVOFLOT #1 Der Schrei, Volksbühne am Rosa-Luxemburg-Platz / Trailer

With Antonis Anissegos, Chris Dahlgren, Tora Augestad, Ichi Go, Tara Bacia, Elisa Fluch and the Wind Orchestra Köpenick. Director: Sven Holm / Conductor: Vicente Larrañaga / Film: Mirko Borscht / Stage: Elisa Limberg / Costumes: Nina von Mechow / Dramaturgy: Malte Ubenauf / Production Manager: Dörte Wolter

Funded by the Senate Department for Culture and Europe




presented by weltempfänger-berlin
Performance Parcours
October 17 & 18, 2018 | 20:00

A search for yesterday’s fictions & today’s possibilities – a free interpretation of Mary Shelley’s Frankenstein.

We have arrived in high-tech medicine. Organ transplants are daily business. Exoskeletons make paralyzed bodies move again. Nanotechnology fights cancer. Artificial reproduction is possible. Euthanasia too. Google is looking for the age gene. And how will we define life in the future? Who are we? What is human?

MonsterMenschMaschine is a site-specific, interdisciplinary performance on the cover of Mary Shelley’s visionary novel. Theater im Delphi creates the perfect setting for this with its romantic gothic flair. Artists from different disciplines and experts from film history, medicine, microbiology and philosophy give expression to their ideas of the feasibility of human beings. Questions about ethics and moral concepts of the existential question are addressed by the ensemble with dance, theater, music, B-movie horror, retro-horror and knowledge transfer, which has come together for this performative tour of science and fiction.

Duration: 85 min. including 12 minutes of silent film from 1910, directed by J. Searle Dawley

In German.


With: hannsjana, Juliane Trimper, Sabine Kurpiers, Jane Saks, Ichi Go, Christine Nicod, Regina Gyr, Anne Rolfs and other experts Setting: Jelka Plate | Production: Christine Nicod | Concept: Regina Gyr | Tech: Tilman Agueras and Jack Rath
In cooperation with the costume collective e.V. We thank Activités culturelles de l’Université de Genève for their support.
Funded by the district office Pankow of Berlin




Harake Dance Company & Friends
Dance & Concert | | World Premiere
October 26-28, 2018 | 19:00

A dazzling cycle of ecstatic events in a place without humanity, love and happiness.

Even more ultimately than a war like the one in Syria destroys a building, it destroys the soul. Superficially it may appear whole but is deeply injured on the inside, alienated from humanity and dependant on memories and feelings as an addict in search of salvation is dependant on Opium . Opium/Afioun takes up the fight with our inner demons. We enter into this realm as into a foreign city, a dehumanized place, where a danced cycle of ghostly apparitions of anger, hate, hysteria, denial or numbness pour out in a wild rain. But we look for this place, to hopefully once and for all overcome these monsters.

Two oriental fusion concerts complement the performance and introduce new tendencies within the musical dialogue between East and West.

“We were dancers long before the war and we will be dancers long after.”
under this motto Mohammed Diban founded Harake Dance Company in May 2017 in Berlin as a pool of professional dancers, composers and related artists from Syria and other countries, combining eastern and western means of expression in powerful dance pieces of lasting impact. Movement (in Arabic “Harake”) here is not at random, but creates meaning, just as an accent (also “Harake”) in arabic writing is essential to reading and understanding the specific meaning of the words. For Mohammed Diban the strife to convey and transport a message and to reach for something real and truthful through movement is inherent in every body. After their last piece, Hadra Hura, Opium/Afioun comes second in a row of pieces where Harake Dance Company examines human states in the context of their actual social and cultural environment.

Duration: Performance ca. 50 Minuten, Oriental Fusion Concert ca. 70 Minuten
Pause: 30 min

Choreography : Mohammed Diban | Live Music: Milad Joseph Khawam | Costume Design :Tarek Ramadan | Video Design: white flux productions | Technical Direction: Tilman Agueras | Production : shibak sharqi gGmbH – Cornelia Winkler, Christine Schmidt, Harake Dance Company – Mohammed Diban

With kind support by Tanzraum Wedding GbR, Theaterhaus Mitte/Förderband e.V. and Theater im Delphi.


:lounge – Claudio Monteverdi!

:lounge – Claudio Monteverdi!

:lounge – Claudio Monteverdi!
lautten compagney BERLIN
November 6, 2018 | 19:30

Arrangements, improvisations, electronics. Monteverdi, the most important Italian musician of the 17th century, the divine Claudio! The lautten compagney plays their music with historical and modern sounds and lets the boundaries of time melt away in the sound.

The lautten compagney BERLIN is one of the most renowned and creative German baroque ensembles. For three decades, the concerts under the artistic direction of Wolfgang Katschner fascinate their listeners. Claudio Monteverdi! is part of their: lounge series (formerly: BaroqueLounge), which dedicates itself to a concert of a composer, a style or an instrument. www.lauttencompagney.de




Theater Butoh Performance | World Premiere
November 9 & 10, 2018 | 20:00

The madness of war, expressed through butoh.

“Lichtblitz” approaches the cruelty and absurd reality of war. Dialogues do not take place, the madness of war is translated into physical expression and physical images by means of Butoh and the play of light and darkness. Between the battlefield and everyday life of the civilian population: A soldier in spite of death. He survives the horrors of war, which seem even worse to him than dying himself, and in the midst of darkness witnesses a divine appearance. Meanwhile, a pious mother suddenly loses her life far from the battlefield. A dog, already lost a leg, wandering around on the rubble and biting into a piece of burnt meat. The absurdity of life and death is examined on the borderline of the physical.

The company 4RUDE was founded in 2005 by Hikaru Inagawa and Maco and since then has been on the road worldwide with their productions. 4RUDE is looking for an ideal form of expression and invents a spectacle without words. From elements of the theater and the butoh arise individual pieces of bodily movements that spring from innermost experiences. They have been developing this way of working and their vision for years, looking for a way into the deep, creating a unique stage language. The home base of the company is Berlin. www.4rude.com


Duration: 60 min.

Artistic Director
: Hikaru Inagawa | Concept, Choreography, Performance: Maco, Hikaru Inagawa | With: Adina Mohr, Carmen Palomba | Production: Theater-Butoh company 4RUDE


Moby_D. A German Whale

Moby_D. A German Whale

Moby_D. A German Whale
mehrblick&ton (Therese Schmid and Wolfgang Heiniger)
Intermedial Music Theater | Berlin Premiere
November 15 & 16, 2018 | 20:00

A sound and visual piece with shanties, catastrophe sounds and a loudspeaker orchestra inspired by “Moby Dick”.

The apocalyptic whale hunt is over. What remains is the tragicomic figure of the surviving Ishmael, a furious white man whose whales are killed and whose battles are defeated. Opposite him is Quiqueeq as a recorder-like cannibal, who counters the chatter of Ishmael and the loudspeaker orchestra with his search for sound.

Just like Ishmael slides through his memories, music and performance slither through a wide variety of styles and genres and can be found somewhere between shanties, electro and avant-garde, text fragments of RAF Kassibern, recaptures of Heiner Müller texts and novel passages Melville. And so it roars and booms in Ishmael’s life, filled with history and rage, mourning, smart-ass, TV sets, whales, radios and baths.

In German language
Duration: approx. 80 ‘


Concept, text, composition: Wolfgang Heiniger (mehrblick & ton) | Concept, Director: Therese Schmidt (mehrblick&ton) | Acting, Performance: Tom Quaas | Recorders: Jeremias Schwarzer | Sound Director: Gary Berger | Stage, Costume, Light: Juan Leon | Production Manager: Helena Tsiflidis (fonundtsu *)

Co-production with Gare du Nord, Bahnhof for New Music, Basel
Funded by Pro Helvetia-Schweizer Kulturstiftung, Fachausschuss Musik BS / BL


The fairy tale of the princess

The fairy tale of the princess

The fairy tale of the princess who absolutely wanted to appear in a storybook
Music theater
November 20 & 21, 2018 | 10:00
Tickets: kontakt@morphtheater.de

Music theater for young viewers ages 5 and up based on the book by Susanne Straßer. The little princess in her tiny kingdom is dissatisfied, because her storybook is fat and heavy, and yet she does not exist in it. That has to be changed! But how? By trying to match the great fairytale heroes of the Brothers Grimm! And so frogs are kissed, hair hanged from a tower, golden shoes lost and a hundred-year sleep started… The staging transforms the well-known picture book into music theater for young viewers who can actively help to make music.

In German language

Music and Musical direction: Tobias Unterberg Text version and direction: Kai Schubert Equipment: Frauke Menziger With: Birgit Blasche, Jelena Fräntzel, Tobias Unterberg (cello) With the kind support of the Cultural Office and the district council Treptow-Köpenick from Berlin. A production of the MORPHTHEATER in cooperation with the Schlossplatztheater Köpenick.




Cinema movie, D, 90 minutes |
Preview of the raw version with live music and synchronization
November 21, 2018 | 19:00

What we imagine is already on the way to reality.” – The girl Conduireamour is witness to a 21st century grail search.

In Kaliningrad the computer game PARZIVAL is a crazy journey through parallel worlds, which challenges the player not only in digital reality. The confrontation with existential human questions forces it to criss-cross through eras. Kaliningrad as a Virtual Transit Zone: The ghost of the city of Königsberg leads the documentary filmed protagonists to the dialogue between East and West, between the presence of Russian reality and the invisible thinkers and heroes who wrote European intellectual history in the old Königsberg. A philosopher, a crane driver, an architect, a writer, a city guide – in the Soviet concrete ruins on the former Schlossberg, there will be a showdown in which the heart of Europe will be ventilated from an unexpected point of view.

The Delphi audience is directly involved in the dynamics of the film development and gets to see something that can be experienced only once in this form: the Kaliningrad composer John Schigol will play in the film music live, while an actress speaks the German language version.
Afterwards there will be a public discussion with Christine Lemke-Matwey (DIE ZEIT), Martin Hoffmann (German-Russian Forum) as well as with Kaliningrad journalist and TV presenter Svetlana Kolbaneva and the author, director and producer of the film Irina Roerig.

Responses to other works of the director:
“What a wonderful movie!” (Iris Berben)
“The first dog you stroke … – A great movie” (Süddeutsche Zeitung)
“I cordially congratulate this film – he shows that in general madness there can still be an opening of the eye and ear.” (Manfred Behrens, WDR)
“It’s wonderful that a different view of Russia is possible in these times.” (Knut Elstermann, RBB)

With: Vladimir Gilmanov (professor of German Philology), Arthur Sarnitz (architect), Alexander Popadin (writer), John Schigol (composer and Technostar), Alexander Korobeinnikov (crane operator) and actors of the Drama Theater Kaliningrad: Sergey Borisov, Liubov Orlova, Elena Nosireva, Anton Sacharov, Maxim Pazerin, Anton Kontuschev, Oleg Jakovenko and many others | Music: John Schigol, Franz Xaver Gebel, Richard Wagner | Written & Directed: Irina Roerig | Camera: Axel Brandt, Evgenij Kaligin, sound Sergei Korobeinnikov | Costume Design: Costume Combination Berlin | Costume Making: CLAUDIA SKODA, Dana Mikelson, Lili Mendelsohn | Production: DERBLAUEVOGEL.BERLIN – FILM D 2018




gamut inc
Music Theater | World Premiere
November 29 – December 1, 2018 | 20:00
Tickets: 12 / 8€

An uncanny meditation on the weight of history on the present – with references to August Strindberg’s social-critical novel »The Red Room« and others.

»History doesn’t repeat itself but it often rhymes« said Mark Twain.
At the moment, these rhymes have a harsh sound, reminding us that civilization is built on a foundation of violence. It is only a thin layer of normality, under which this power is hidden and breaks again and again. In REDRUM, the ensemble gamut inc, together with the American librettist Leslie Dunton-Downer, is developing a music theater that deals with the brittleness of seemingly reliable social agreements in many different ways. In various rooms of the theater, viewers are entangled in a panopticon of visual references, in which different temporal levels and realities are condensed into a poetic resonance. Deep electronic sounds from the underground, fragile harmonic structures of the cello quartet “the octopus« and labile rhythmic figures of percussion, stringed instruments, electric guitar and trombone spin together with the performative sequences in a labrynth of the uncanny. Forever and ever and ever.

In English and German.

gamut inc in the media:
»Brilliant and frightening: Wörle and Sledziecki have not only made an important contribution to the discussion about digital theater [with “One More Pioneer”], but also demonstrated how intelligent, dense, intensive music theater can function today.« (Michael S. Zerban / Opernnetz)

»Future music: The creators succeed in creating a digital music theater that is exciting and witty as the sum of audio drama, music, visual art, video and theater. […] If it were not for the piece […], the audience [ ] would witness a truly extraordinary concert. But because the piece also does justice to such a concert, one is overwhelmed at the end by a wonderful flood of data.« (Dirk Wagner / Süddeutsche Zeitung)

Trailer This Is Not A Swansong
Trailer One More Pioneer
Trailer Ghost Tape XI

Concept, composition and artistic direction: gamut inc (Marion Wörle and Maciej Sledziecki) | Libretto: Leslie Dunton-Downer | Performance: Cian McConn, Maike Schmidt | Advisory Director: Thomas Fiedler | Guitar: Maciej Sledziecki | Electronics: Marion Wörle | Percussion, strings and incandescent: Michael Vorfeld | Trombone: Hilary Jeffrey | The Octopus Cello Quartet: Nathan Bontrager, Elisabeth Coudoux, Nora Krahl, Hugues Vincent | Sound Direction: Robert Nacken | Stage Gamut inc | Costumes: Cian McConn | Technical Direction: Florian Mönks | Light: Reinhard Huber | Press: Sarah Rosenau | Production: satelita Musikverlag

A project by gamut inc, supported by the individual project funding of the Senate Department for Culture and Europe, the Musikfonds and the Kulturamt Pankow of Berlin