Gespräch haben / Ohne Worte (Martin Clausen und Kollegen)
“Gespräch haben / Ohne Worte” (2014) is a collage of five different worlds of conversation. In the midst of a scenario made up of rounds of discussion and sales dialogues, Martin Clausen, Rahel Savoldelli and Peter Trabner celebrate formal and informal, functional and dysfunctional forms of communication. In doing so they become practiced in tragicomic approaches, in keeping and losing contact. When a conversation is no longer possible, when its methods seem used up, when mutual incomprehension, betrayals of trust, and defensiveness prevail, they continue the contact by other means. What follows are brawls, futile and more or less successful attempts at animating sleeping bodies, ordeals and contacts that range from the affectionate to the erotic. “Gespräch haben / Ohne Worte” is the second production by Martin Clausen und Kollegen and describes scenes that are beyond verbal explanation and that nonetheless communicate effectively. They defend the beauty of moments of not understanding with touching verve, dissecting the synchronicity of language and gesture and laying bare possible and impossible webs of relationships. They gladly dwell on the negative, consciously affirming states of non-interrogating, non-knowing and non-capacity as an indispensable part of interpersonal communication. A performance with musical elements from the musicians Doc Schoko, Mario Schulte and Harald Wissler.
Performance: Martin Clausen, Rahel Savoldelli, Peter Trabner
Music: Mario Schulte, Doc Schoko, Harald Wissler
Space/Objects: Ivan Bazak – Karpatentheater
Light: Benjamin Schälike
Costume: Lisa Kentner & Malena Modéer
Concept: Martin Clausen, Johannes Hock
Collaboration: Werner Waas, Mia Sellmann
Production & Press: björn & björn
Production: Martin Clausen und Kollegen. Co-production: HAU Hebbel am Ufer. Supported by the Senate Department for Culture and Europe.
Martin Clausen’s collaboration with the musicians Doc Schoko, his brother Mario Schulte and Harald Wissler is entering its sixth year. Martin Clausen und Peter Trabner can now look back at a 15-year collaboration, reaching back to the beginnings of Clausen’s first performances, which started them on their professional lives with TWO FISH. Both of them deal in different ways with improvisation, Peter Trabner in street theatre as well as in newer, improvised film formats, for instance with director Axel Ranisch. Rahel Savoldelli, whose work in socio-cultural projects at Jobact has brought her into contact with laypeople of all colours, is also active in the social muscle clubs. In addition to the outside eye of Werner Waas, a theatre director with a longstanding career, above all with greats from the Italian theatre, “Come Together” also includes collaboration with a former TWO FISH colleague, Javier Aléman, a Spanish dancer, choreographer and actor, working as a coach for choreographic elements and the connection between acting and elements of movement. In its collaboration with the costume designers Anna-Lisa Kentner and Malena Malena Modèer, the stage designer, Nestroy prize winner and visual artist Ivan Bazak – Karpatentheater as well as with the light designer Benjamin Schälike, the production and PR firm björn & björn and HAU Hebbel am Ufer, the group is pursuing the principle of a long-term, constant and faithful collaboration.
Under the artistic direction and management of Annemie Vanackere, HAU Hebbel am Ufer presents contemporary artistic positions that explore the intersection of theatre, dance, and performance. In addition, music, visual arts, and theoretically oriented discursive events are core components of the diverse program. Instead of relying on a permanent ensemble, HAU does not only develop, but also presents international co-productions, festivals, and projects realized within and beyond Berlin’s international dance and theatre scene. Since 2013, HAU Hebbel am Ufer has, for instance, been solely responsible for organizing the “Tanz im August” festival. Crucial cornerstones of the program are a contemporary repertoire including renowned classics as well as festivals highlighting current themes, as could for instance be seen in “Precarious Bodies. Tanz, Performance, Körperpolitik“ (2013), “Das Große Nature Theater of Oklahoma ruft Euch!“ (2013), “Good Guys Only Win in Movies. Künstlerische Positionen aus Bukarest und Chisinau“ (2014), "Männlich Weiß Hetero. Ein Festival über Privilegien" (2015), “HEINER MÜLLER!“ (2016), or "Utopische Realitäten" (2017).