Revival in Mannheim!
Current Dates: 15. & 16. December 2017 // 7:30 pm // EinTanzHaus, Mannheim // Tickets
In this orchestral ideological union, which cultivates its high culture through power demonstration and haughtiness, the arrogance of mankind is reflected. Superbias system shows the basic manipulative mechanisms of ideological systems. The power of persuasion that is necessary to prevail ideas and move masses is always a question of attitude. How much haughtiness does one have to show, so that people will follow? This is not about content, it is about control.
We would like to invite you!
8. December 2017 // 7:00 pm // Theater Rampe Weinladen // Registration
backsteinhaus produktion has been locating the dance in Theatre Rampe for a year and now we want to get to know the audience even better and offer this possibility the other way around. Directly, bluntly and very close, we want to talk, cook, perform and maybe choreograph a bit with our guests. The menu includes 3 courses, the exploration of matters of taste and a delicate interplay of theater service and performative freedom. We invite 10 guests on 8th December, to mix, to stir and to shake the structures of free dance and theater with us.
18. January 2018 // 3. May 2018
The latest backsteinhaus production!
If man would fell on his hands, walk as a quadruped, let grow his fur and stand and howl, an evolutionary step would be taken. A piece for a speaker, a conductor, a musician and trucker, a choir, five to six dancers and one child. As wolves they dance back to a Europe from which they have been expelled for a long time. Wolfgang beats his path as an untamable endangerer, lonely, mangy and posthuman in search of a home. Who wants me? The ones looking for shelter present themselves at their best. Their territorial struggles, disputes about the order of rank and the tender care for the family can be observed at close range and in the wild.
A backsteinhaus production
›Headless‹ is a parable for the time of general uncertainty, counter-defense and its consequences. It is a positioning exercise and a song against fear. Based on a bad body posture, and the head as a body’s own resistance, the choreographer Nicki Liszta developed together with the dancers this couple dance.
A coproduktion with Theater Rampe
We were invited to the Autorentheatertage in Berlin!
14. June // Deutsches Theater, Berlin
Rubber lays the ground behind the history of globalization: colonialism boomed in the 19th century. The European opera house in Manaus testifies to this. And a small car entrepreneur in Germany, struggling with the crisis, is trying to live on. And the oceans sink in plastic. A climate symphony for a drowning dance ensemble, an exhausted symphony orchestra, two survivors in climatic capsules, and an average white Central European family.
The latest coproduction of backsteinhaus produktion and Theater Rampe!
With Sibylle Berg’s ›How to sell a murder house – A danced real estate portfolio‹, the director Marie Bues and the choreographer Nicki Liszta imagine drastic explorations of reality: while the city sinks in the civil war, a man saves himself in the vacant house on the Hill as last resort. But even up here the madness of the big city, the crisis of the corporate and financial world and the failure of the white, western, heterosexual man can not be stopped … An abominable evil and at the same time tragic horror trip!
Rampe tanzt: Since the season 2016/2017 backsteinhaus produktion and Theater Rampe collaborate!
The season will start with a production directed by Marie Bues and Nicki Liszta. The awardwinning play ›paradies fluten‹ written by Thomas Köck.
Excerpts from an article from the Yearbook 2015 of ›Tanz – Journal of Ballet, Dance and Performance‹ by Angela Reinhardt:
»Nicki Liszta’s dance hurts. In a very real sense, their dancers and performers throw themselves on the stone floor, popping against walls, hovering over glass flakes. In Stuttgart, where the free scene, in spite of patient parrots through the city, regularly falls next to Ballet Comedy and Gauthier Dance, the choreographer sets a real counterpoint apart from the usual off-locations. …