A production for children (4+) by JES – Junges Ensemble Stuttgart in collaboration with backsteinhaus produktion

The table is set, at least for us. ›Vesper‹ explores through dance playful the common break and hunger as a subjective as well as a global monster. Visually rich and almost textless, the two performer search for a fair distribution among each other and are accompanied and supported by the young audience in the final shared snack. It will be danced, shared, played, eaten, burped and farted until the police arrives, the stage gets sick and a big question remains in the room: How the hell can we make it, make up for it, change it?

The latest backsteinhaus production!

The lust for life becomes fatality to the world as to humankind, susceptibility becomes our own noose. Out of great love for life, backsteinhaus produktion creates a counterconcept and is passionately devoted to purely organic material disposal. How closeness is practiced gently, how living together is sustainably negotiated and how life happens without leaving a trace tells this misanthropic-optimistic utopia of love. Let’s celebrate life with the protagonists of ›Platonia‹!

A backsteinhaus production

›Wolfgang‹ was invited to Korea for the Seoul International Dance Festival 2018 and selected for the Tanz Yearbook 2018 as one of the seven best pieces about homeland.

If man fell on his hands, walked as a quadruped, let grow his fur and stood and howled, evolution would have taken a significant step. A piece for a speaker, a conductor, a musician and trucker, a choir, five to six dancers and a child. As wolves, they dance in a Europe, from which they were 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

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.

A backsteinhaus production

Two, headless and stiff-necked, prepare themselves for a partner dance and sing a song together: a song against fear. ›Headless‹ is a parable of the time of general insecurity, resistance and its consequential damages – a posture exercise. Based on a straightforward position and the head as the body’s own resistance this duet was created at the time of the presidential election in the US in 2016 and can be taken literally in this sense. Because maintaining the position is difficult, the head tilts forward or backward, the human body straying stiff-necked and headless. And when the head steps out of line, madness forges ahead.

A Coproduction with the Theater Rampe and the Theater Lübeck

Vampires are among us. ›DIE TONIGHT, LIVE FOREVER oder DAS PRINZIP NOSFERATU‹ is a multidisciplinary theater evening. A hybrid based on the question of the undead of today. How do people move through urban landscapes, through a radicalizing environment, between sharpening political and social fronts? The piece examines the image of the vampire in terms of cultural criticism and body politics. Brush your teeth and shine with us!

We are nominated for the sponsorship award!

The award honors the remarkable ability to create an experimental format and striking artistic handwriting, as an exploration of new aesthetic ways – an ›upcoming‹ regardless of age or working period, which is being noticed nationwide.
»The Stuttgarter Physical Theater Company ›backsteinhaus produktion‹ around Nicki Liszta« is among other things nominated »for her radical and unusual formal language, which creates a highly political dance theater.«

Thank you for this portrait by Angela Reinhardt in ›Tanz‹!

»Through a free scene that is practically silent, her pieces echo like little explosions. … Liszta’s art reduces the distance between the artist and the audience, substituting aesthetic contemplation or passive pondering through situations of horror and distance, provoking a physical reaction to what has been seen.«

To read in the January edition of ›Tanz‹ or online in the theater magazine of Friedrich-Verlag.