A production of Possible World, 2018
Ballhaus Ost, Berlin December 7 – 9, 2018 at 8 pm I Schauspiel Essen September 30, 2018 at 6 pm I Ballhaus Ost, Berlin June 29 & 30, 2018 at 8 pm, July 1 at 8 pm I public rehearsal March 15, 2018 at 7pm I PREMIERE March 16, 2018 at 8 pm, March 17 & 18, 2018 at 8 pm
"Ich hab´ ein äußerst seltsames Gesicht gehabt! / Ich hatt´nen Traum – what a weird dream I had – ´s übersteigt die menschliche Intelligenz, zu sagen, was für´n Traum ´s war: man is but an ass – n`Esel/n`Arsch, if he go about to expound this dream – tried to explain it / mir war, als wär ich / mir war, als hätt ich – no eye has ever heard, no ear has ever seen, no hand has tasted, or tongue felt, or heart described what my dream was like / but man is but a patched fool, wenn er/sie wirklich sagen will, was ich war."
Shakespeare's Midsummer Night's Dream is an over 400-year-old confusion of people, their bodies, their languages, dreams and feelings; moving from a palace to a forest during Midsummer’s Night, where people run riot, cavorting with fairies and animals.
A collaboration of the Ensemble Possible World with Michaela Caspar, The progressive wave /Gal Naor & Matan Zamir, Rajyashree Ramesh, Gabriele Wischmann and Jan-Peter E.R. Sonntag.
A research project for a stage language based on the parameters of sign language. In its current production the Ensemble Possible World investigates the potential of language as action in space. The work is based on William Shakespeare's play and German Sign Language. The ensemble consists of six deaf and two hearing performers and two children of deaf adults (codas). Since deaf people communicate in a visual-kinaesthetic way that seems unfamiliar to the hearing world, the international ensemble challenges the traditional Western limits of language and literature.
“Mashed-up sadomasochism, beauty and the beast, on-trend mediaeval torture, gay royals, elfin zoophilia, a Pinocchio guy with donkey ears and a strap-on XXL dildo – plus love confusions? This could only be Shakespeare Berlin-style!
Possible World had its breakthrough in 2014 with The Deaf Time-Machine, an artistically historical exploration of deafness. Now director Michaela Caspar and Israeli choreographers Gal Naor and Matan Zamir present a highly inclusive production in which sign language seems only a secondary component. An abundant variety of expression from spoken word to German sign language, to visual vernacular and tactile gestures are used. Expect a lot of naked flesh, homosexuality and cross-casting." From the review in the German Deaf Newspaper by Lena Peterke "Toalota! It was all just a dream", April 2018
With TITANIA, THESEUS Eyk Kauly / OBERON Gal Naor / PUCKA Anka Böttcher / HIPPOLYTA, PRIMEL, SCHNOCK Peter Marty / DEMETRIUS, SQUENZ Brian Duffy / EGEUS, MOTTE, FLAUT Wille Felix Zante / HERMIA Emilia von Heiseler / LYSANDRA, BOHNENBLÜTE Athina Lange / HELENA , SENFSAMEN Anne Zander / ZETTEL Okan Seese
CONCEPT & DIRECTOR Michaela Caspar / CHOREOGRAPHY The progressive wave - Gal Naor & Matan Zamir / BHARATANATYAM Rajyashree Ramesh / COMPOSITION, ROOM, PHOTOGRAPHY Jan-Peter E.R. Sonntag / COSTUMES Gabriele Wischmann / SIGN LANGUAGE TRANSMISSION Eyk Kauly u.a. / DRAMATURGICAL ADVICE Till Nikolaus von Heiseler / VISUAL VERNACULAR Brian Duffy / LIGHT DESIGN Fabian Eichner / PRODUCTION Daniel Schrader - Ballhaus Ost / COORDINATION Max Neu / ASSISTENCE Kim Kowalewski / VIDEOS FOR WEBSITE Jens Kupsch / WEBSITE Nina Dören / SIGN LANGUAGE INTERPRETER AND COMMUNICATIONASSISTENCE Ulli Steinseifer, Mira Esther Weischet, Stella Papantonatos, Corinna Brenner, Katharina Rerich, Thomas Finkbeiner, Tina Ehrmanner, Florian Köhler, Violeta Blahusch, Isabella Keldany, Katharina Bernstädt / TRAINEES Carla Szolansky, Leo Jeagels, Nele Jäger, Anika Loidl, Amelie Kunath, Pia Loebbert
Lord, what fools these mortals be! - Shakespeare
Love can transpose to form and dignity. - Shakespeare
Hermia, daughter of Egeus, loves Lysandra and Lysandra loves Hermia. But Demetrius also loves Hermia and Helena loves Demetrius. Lovers, escaping the constraints of their parents and the laws of urban society, flee to a forest. There Hippolyta, queen of the Amazons, Titania, fairy queen - aristocratic townspeople, theatre-playing craftsmen, elves and spirits - all meet in a clearing on a night full of desires. Language loses its meaning, bodies collide. Life breaks beyond its bounds.