Lindy Annis
>Lindy Annis

Lindy Annis. Inspired by a childhood in front of the television in Boston, Annis became interested in new performance platforms at an early age. In New York she studied role-playing at the Circle in the Square acting studio, and movement, time and space at New York University’s Experimental Theater Wing. In 1985 she left New York for Berlin (West), which has been the base of her life and work since.


Lindy Annis has been investigating the heritage of body gestures for several years, creating a line of works on this subject. In 2001 she researched the roots of tragic body gestures from the ancient Greek art and theater in “Encyclopedia of Tragic Attitude / Death of a Salesman”. In 2004 “Lady Hamilton’s Attitudes” looked at the Pompei-inspired perfomances of Lady Emma Hamilton (1765-1815) while her work from 2008, “Warburg’s Memo” explores the life and work of the Art Historian Aby Warburg, founder of the modern school of Iconography and inventor of the term “Pathos formula”.



Simone Aughterlony
>Simone Aughterlony

Simone Aughterlony °1977 graduated from the New Zealand School of Dance in 1995. Since moving to Europe she has been involved with various artists in the roles of both a performer/adviser and as a choreographer. She joined Meg Stuart/Damaged Goods in 2000 and worked on the productions of ‘Highway 101’and ‘Alibi’ among others. She has choreographed for theatre productions at Schauspielhaus Zürich, Volksbühne Berlin and Burg Theater Wien under the direction of Falk Richter, Stephan Pucher and Niklaus Helbling. Simone first began the production of her own performance work in 2003 with the presentation of her solo, “Public Property”. Her subsequent works, “Performers on Trial” and the group work “Bare Back Lying” have toured extensively in Europe. She collaborated with the video artist, Meika Dresenkamp to create “Between Amateurs” in 2006. Upon invitation from SPIELART Münich,  Simone created the duet “TONIC” which was presented in the frame of “What’s Next?” on recommendation from Tim Etchells in November 2007. The group work, “The Best and the Worst of Us”, premiered in February 2008 and is touring Europe as is the recent collaborative work with Isabelle Schad, “Sweet dreams are made”. Most recently, Simone collaborated with filmmaker Jorge Leon on the project ‘To serve’, a trilogy on the subject of domestic service that premiered in Kunsten festival Brussels May 2010.



Antonia Baehr
>Antonia Baehr

Antonia Baehr is a choreographer, performer and filmmaker. Her productions include: "Holding hands" (2000), "Un après-midi" (2003), "Larry Peacock" (2005), "Merci" (2006), "Rire / Laugh / Lachen" (2008) and "Over The Shoulder"(2009). In 2008 she published the book "Rire / Laugh / Lachen". In 2010 she development a new work, "Faces" a choreography for the face for four interpreters. Antonia Baehr works with Lindy Annis, Gaetan Bulourde, Valérie Castan, Antonija Livingstone, Eszter Salamon, Tamar Shelef and William Wheeler. She is the producer of the horse whisperer and dancer Werner Hirsch, the musician and choreographer Henri Fleur and the composer Henry Wilt.



Silke Bake
>Silke Bake

Silke Bake lives in Berlin and works as a dramaturge and curator. She studied theater studies and philosophy. She works in various projects and formations together with choreographers/directors (Milli Bitterli, Reinhild Hoffmann, deufert +plischke, Peter Stamer, among others). She develops programs at various theaters and art centers, such as the Academy of the Arts, Berlin, Hebbel-Theater Berlin, Haus der Kulturen der Welt Berlin, Kanuti Gildi Saal Tallinn, Tanzquartier Vienna, Theaterformen Braunschweig/ Hannover, Impulstanz Festival Vienna. Academy for choreographers and composers at the Academy of the Arts, Berlin 2001-2002; dramaturge at the Tanzquartier Vienna, 2002-2004; member of the three-person board of trustees for independent theater and dance in the city of Vienna, 2005-2006. Curator Tallinn edition of the EU network project Colina with artists from a variety of disciplines, 2006. Together with André Lepecki (curator) she was responsible for the performing arts festival IN TRANSIT at the Haus der Kulturen der Welt 2007-09; mentor at Europe in Motion at the CNDB Bucarest 2009. In 2010 she curated „Die Gegenwart des Anderswo im Jetzt“, a weekend with lectures, performances, videos and installation works on the subject of post-colonialism and theater at the Theaterformen festival in Braunschweig and organized the 12-hour talk show night from dusk till dawn and further at Impulstanz in Vienna.



Marlon Barrios Solano
>Marlon Barrios Solano

Marlon Barrios Solano (Venezuela/USA) works as an independent  consultant, educator, curator, movement/new media artist, researcher, online producer, blogger, and professional nomad. With a hybrid background in movement and new media arts, organizational development, and cognitive science, he researches and create platforms for the development of open and sustainable models of knowledge production and distribution among trans-local artistic communities and organizational contexts.

He holds an MFA in Dance and Technology 2004 (real-time digital technology, performance of improvisation and embodied cognition) from The Ohio State University, USA. He is the creator/producer/curator of dance-techTV, a collaborative internet video channel dedicated to innovation and experimental performing arts and its social network related projects.

His research is focused on:
• Art, performance, science and new media intersections
• Networks as medium
• The performances of information and cybernetics
• Social networking and collaborative media/knowledge production strategies and tactics in the arts
• Collaborative Creativity and social innovation in online and off-line spaces.
•Interdisciplinary practices and theoretical developments on contemporary performance, networked environments, embodied cognition, meta-design and complexity theory.
• Emergent dramaturgies, methods and creative models in relation with networked technologies and methodologies /open cultures.
• Online knowledge educational platforms for body based creative practices and interdisciplinary thinking.

As a professional dancer in New York City, he performed nationally and internationally with Susan Marshal and Dancers (1997-2000), Lynn Shapiro Dance Company (1995-1998), and with the choreographers Merian Soto, Dean Moos, Bill Young, among others. He also performed with the musicians John Zorn, Philip Glass and Eric Friedlander. Under Unstablelandscape (2003-07), he performed and researched improvisational performances within digital real-time environments performing in the US and Europe.  Marlon is a research associate at DanceDigitalUK, CKAmsterdam/STEIM (Holland). He is a guest lecturer for the Masters on Performance Practices and Visual Culture for the Universidad de Alcala (Spain) and HZT Berlin (Germany) for 2012.



Daniel Belasco Rogers
>Daniel Belasco Rogers

Daniel Belasco Rogers was born in South East London in 1966. After studying theatre design and spending many years working in experimental theatre as a director, performer and designer, he received an Artsdamin Artists' Bursary in 2001 to pursue his solo work. In 2002 he formed plan b with his partner Sophia New to produce work collaboratively. Now based in Berlin, Daniel and Sophia make performance works, installations, locative media and audio pieces. He was made a member of the Junge Akademie at the Akademie der Künste in Berlin in 2005. In 2008 & 2009 he was a peer advisor at the Banff New Media Institute in Canada.


Daniel has a complete record of his daily movements, captured with a GPS, since 2003. Starting in 2007, Sophia and Daniel have both collected their daily movements as well as other aspects of the data of their daily life such as text messages, photographs, and emails sent to each other. In 2010 they are artists in residence at the MRL in Nottingham University, where they will be developing outcomes for this biographical data collection work. (Berlin 2010).





Joris Camelin
>Joris Camelin

Joris Camelin (Grenoble, France). After exploring classical singing for several years, he pursued Musicology studies in Nice together with a dance formation.  Further exploration led him into numerous classes and workshops with (Franz Polstra, Benoit Lachambre, Jordi Cortes Molina, David Zambrano).


He started his career as a professional dancer in 2000 at the Universal Exhibition in Hannover (with Frederic Flamand). After one year at the Oldenburg Stadttheater (M.Stiefferman), he started a number of collaborations with various choreographers such as Daelik Hackenbrook (Canada), Tamara Tossey (Amsterdam), Iztok Kovac (Berlin).


From 2003 on, he worked amongst others with Constanza Macras ("Back to the present"),  Mark Tompkins ("Animals), Jeremy Wade ("…and pulled out their hair"), Laurent Chetouane ("Faust" theatre, "Tanzstück4") or Meg Stuart ("Massnahme, Mauser", "Do animals cry"). In 2010 he has taken part of a 12 hours performance in Weimar ("SenderWeimar", Ingo Reulecker & Lukas Matthaei). In correlation with those various works from 2003 on  he has develeoped (sometimes together with Mata Sakka) a choreographic work ("watching me watching you") or series of improvisations in studios as well as in public spaces (fabrik Potsdam), Theater Balsaal (Bonn), Kunst und Ausstellungshalle (Bonn), Sralauer68festival (Berlin), Louvre Nomad (Musée du Louvre, Paris), Avalanche sur Pompeï Festival ( Vanves theater, Paris).


His work is centered on the body, on emotions and on the search for a true moment or movement. He plays with digging into interstices found between dance and theatre, between faking and feeling, between reality and fiction.



Christina Ciupke
>Christina Ciupke

Christina Ciupke works as a choreographer and dancer in Berlin. I am very attracted to moments of irritation that shift levels of perception and create insecurity. In my work I investigate fragile situations in a dialogue with my own body as well as in dialogues and cooperation with other partners.


My interest focuses on the fragmentation of the body and the investigation into processes of perception and consciousness. It is investigative, all the way to the borders of action and reception. Narration occurs in composition that is based on the reduction in movement selection and a stringent development of detail all the way to complex patterns of repetition; this allows for a physical intensity and specific relationship between time and space.

In the use of physical intensity, I attempt to establish a dialogue and intimacy between me as a performer and the audience, just like it happens when watching a film – one begins a relationship with the protagonists and becomes a part of their reality.


Intense cooperation has a specific place in my work. Collaboration includes getting close to another person, as well as entering into the other person’s space of thought and reflection. Patience, endurance and investing time are essential elements in making it possible to create a common work, with whom both partners can identify and see as their own; a work that goes beyond themselves.


Martin Clausen
>Martin Clausen

Martin Clausen, born in Laubach/Hessen in 1973, started in 1993 in Berlin as an actor, musician, assistant and director and  studied culture and theatre studies from 1995 to 1998 at the Humboldt University of Berlin. He was trained to be a teacher of the Alexander Technique from 1999 to 2002. In 2000 he founded TWO FISH (, dance company Berlin with Angela Schubot.

He worked in Berlin at Sophienaele, Hebbel Theatre, Podewil, Tanzfabrik with companys, lables or arts collectives like urban lies/ Lajos Talamonti, post theater, Gob Squad, Nico and the Navigators, böse diva, Die Bairishe Geisha und Lubricat, Station House Opera London, Unos United (Volker März), Ingrid Hammer, Sommer Ulrickson, Gaststube°, Kazue Ikeda, Hanna Hegenscheidt and did improvisations with Streugut.


Since 2008 he has been teaching at the College of Fine Arts (HBK) in Braunschweig and working as a teacher for the Alexander Technique at Staatsoper unter der Linden, Berlin. His works combine simple movement elements with improvisation and a technique of text develeopement devices in close collaboration with the cast. Besides his stage works he produced or took part in a lot of site-specific theatre and dance performances.



Susanne Foellmer
>Susanne Foellmer

Susanne Foellmer, Dr. phil. graduated from the Institute for Applied Theatre Studies in Giessen, Germany and is currently working as a dance theoretician in Berlin. She also  has experiences as a dramaturge, with Jeremy Wade, Tanzcompagnie Rubato, Isabelle Schad, Elettra de Salvo and Hans-Werner Klohe amongst others. In 2004 she recieved a grant at the Akademie der Künste Berlin to develop an artistic research project evolving around choreography and film on stage. From 2003 until 2007 she was member of the post-graduate programme „Koerper-Inszenierungen“ at the Freie Universität (FU) Berlin, writing her doctoral thesis on the notion of the grotesque and the materiality of incomplete bodies in contemporary dance, and received her PhD in 2008. She published numerous essays and gives international lectures and workshops in the field of dance and dramaturgy (e.g. in Vienna, Hamburg, London, Paris, Istanbul, Toronto).


Since summer 2008 she has been working as a lecturer and research fellow at the theatre department of the FU Berlin. Besides, since 2008 she is has been a member of the Jury for dance and theatre of the Berlin senate. In 2006 she published her book about the dancer and actress Valeska Gert, including a CD-Rom, entitled „Valeska Gert. Fragmente einer Avantgardistin in Tanz und Schauspiel der 1920er Jahre“ (Valeska Gert. Fragments of a vanguard dancer and actress) at transcript, Bielefeld. Her doctoral thesis, entitled „Am Rand der Koerper. Inventuren des Unabgeschlossenen im zeitgenoessischen Tanz” (On the Edge of the Bodies. Inventories of the Unfinished in Contemporary Dance)  was published in 2009.

Mentoring (in english or german):

  • dramaturgy/supervision of choreographic projects (with regard to idea/concept, project development, “outside eye”)
  • body and theory as partners: challenges and potentialities in contemporary choreography
  • historic approaches towards dance: archive and research as practice



Paul Gazzola
>Paul Gazzola

Paul Gazzola operates an interdisciplinary practice of over 20 years at the interface of art, architecture, dance, performance and theory in the creation of performances, texts, choreographies, videos, set designs and multi-media installations for stages, galleries and site-specific settings as well as in various dramaturgical and curatorial roles. Since 1988 an extensive body of work has seen presentations and commissions for festivals in Australia, South Africa, South America, Japan, Canada and throughout Europe. Originally trained as a carpenter, he has a B.A. in performance, is a qualified a Feldenkrais practitioner and in 2004 commenced studies in architecture. The culmination of these varied inquiries, each exploring the connection/intervention between the body and the built form, provide a unique platform of knowledge in his working life.


He has collaborated, designed and performed with such companies as Les Ballets C de le B (B) and with the choreographers Xavier Le Roy, Meg Stuart, Tino Sehgal, Joao Fiadeiro and Angela Guerreiro. He is also a founding member and ongoing collaborator of Lone Twin Theatre (UK).



Gintersdorf und Klaßen
>Gintersdorf und Klaßen

Gintersdorfer/Klaßen. Cooperation since 2005. With a German/ African team of performers at the Volksbühne im Prater Berlin, Kampnagel Hamburg, FFT Düsseldorf, sophiensaele Berlin, Theater Aachen, Schauspiel Köln, Ringlokschuppen Mülheim, Deutsches Theater Berlin, Schauspielhaus Bochum. Selection of pieces: „Othello c’est qui“ (2008), „Logobi 01- 05“ (dance, Franck Edmond Yao or Gotta Depri meet Hauke Heumann, Gudrun Lange, Laurent Chétouane, Jochen Roller, Richard Siegal, 2009-10), „Betrügen“ (2009), „Très trés fort“ and „Macbeth – très trés fort“ (2009). „Abidjan Mouvement“ theater festival (2009), "Rue Princesse" theater festival Abidjan, HKW Berlin, Kampnagel Hamburg. Impulse Jury Prize 2009. George Tabori Support Prize 2010. ballettanz Company of the Year 2010.


Knut Klaßen, visual artist, lives and works in Berlin. Cooperation with John Bock (1998-2004) and gelitin (2003 -). Studio structure, director of development Anselm Reyle (2007-2009). 2009 teacher at the TU Berlin in theory of architecture.


Monika Gintersdorfer studied German literature and theater, film and television sciences in Cologne, and directing in Hamburg. 2000-2004, pieces at the Hamburger Schauspielhaus, Münchner Kammerspielen, Salzburger Festspiele.


We keep things technically simple - so we can take the last train before the show. We fight for the maximum fee for our performers as in Germany free productions often are handled as poor productions. We try to be glamorous to overcome the feeling of poverty. There is neither a perfect length nor a perfect dramaturgy to a show that we develop. We like to start producing fast and invite other artists directly. We try to be conscious of the context we work in and change it quite often. There are no plays that are made to last for a long time, we work in series that always continue. The artists should know how to exploit our work for themselves in various ways -for example, they own the clothes of the show. There is nothing symbolic, parodistique or illusionistique in our work, but we do not always tell the mere truth. (Monika Gintersdorfers Manifesto für Baoumm-you are not alone!, SOMETHING RAW FESTIVAL Amsterdam 2010)




Boris Hauf
>Boris Hauf

Boris Hauf  (1974 London, UK) plays saxophones, flutes, synthesizers, organ,  computer-based apps. Works in bands and as soloist. Composer for ensembles, soloists, installations, performance, film. Workshops, classes and lectures. Curator. He founded efzeg in 1992 and Owl & Mack in 2007;  is a founding member of TUB (a.k.a. The Understated Brown) (Berlin); Collaborates with various choreographers and visual artists: Litó Walkey, Christina Ciupke, Martin Nachbar, Zoe Knights, Nadia Lauro, Vera Mantero, Franz Poelstra/Robert Steijn, Sabina Holzer, Benoit Lachambre/Andrew Harwood, Lucy Cash, Paz Rojo, and others. Concerts and performances in Europe, North Africa, Latin America, Japan, Korea and the USA.

Initiated and curates the annual composition festival Chicago Sound Map (Chicago) the concert series Play date (Berlin).


More than 30 releases on vinyl, cd, dvd, vhs and mp3 for various labels worldwide.



Frauke Havemann
>Frauke Havemann

Frauke Havemann’s work is characterized by interdisciplinary practice. She first studied classical ballet in Cologne, then continued her studies with Merce Cunningham, the Nikolais/Louis Lab and Movement Research Studio in New York. In 1992, together with Mark Johnson, she co-founded the Berlin performance group DETEKTOR, whose work combined dance, video and theater. In 1996, Havemann began producing her own performance projects and video installations. Her productions examine the filmic process and the atmosphere and aesthetic of diverse film genres, translating film editing techniques into the live-performance situation. Founding ON AIR in 2002 (, she joined forces with video artist Eric Schefter and performer Neal Wach to explore the possibilities of dialogue between Video- and live-performance. She also collaborates dramaturgically on productions by  Christina Ciupke / Nik Haffner and others.


Frauke Havemann has received various grants and scholarships and her work has been shown in festivals and events throughout Germany and abroad. She teaches contemporary dance as well as performance workshops and has been a teacher at Tanzfabrik Berlin since 1995.



Ayara Hernandez Holz
>Ayara Hernandez Holz

Ayara Hernández Holz (Mexico, Uruguay 1976) is a performer and choreographer based in Berlin and Montevideo. She studied contemporary dance, literature and theater in Uruguay ,  at EDDC (European Dance Development Center) in the Netherlands and in 2009 she finished her MA in Contemporary Arts Practice & Dissemination/ MACAPD in “L’animal a l’esquena” in Spain. (in collaboration with the University of Girona and Dargtinton College of Arts).


Since 2002 she has been creating her own work in collaboration with Felix Marchand under the name: Lupita Pulpo. Their works have been presented in different international events in South America and Europe:


In the last few years she has also been working  on the potentiality of memory in the performance field, emphasising the emancipated life of remembering. Under this subject she created „Tracing“ (final project of her master degree), a performance-installation based on memories of performances by the audience and „Rumor“ a fiction-documentary film in collaboration with her brother Arauco Hernández (film maker). Next to her own work she has been teaching in different centres and has been collaborating as dancer in various projects.



Dr. Pirkko Husemann
>Dr. Pirkko Husemann

Dr. Pirkko Husemann is a freelance dance scholar and dramaturg, since 2013 member of Junge Akademie. 2012/13 dramaturgy assistant at Dance Congress 2013 in Düsseldorf. 2008-2012 curator for dance at Hebbel am Ufer Berlin, where she curated festivals like Tanz im August and Context. 2008 PhD in theatre studies at Johann Wolfgang Goethe-University in Frankfurt/Main. 2005/6 research associate at Dance Congress Germany 2006 in Berlin. 2001-2004 production manager, dramaturge and performer with Christine de Smedt, Kattrin Deufert and Thomas Plischke, Xavier Le Roy, Thomas Lehmen, Prue Lang, Nik Haffner and Christina Ciupke. 1997-2004 assistant to the artistic director, project co-ordinator and artist services at Künstlerhaus Mousonturm, Frankfurt/Main. Publications a.o.: “Choreography as Critical Practice” on Xavier Le Roy’s and Thomas Lehmen’s modes of work (transcript: Bielefeld 2009). Co-editor of “Knowledge in Motion. Perspectives of Artistic and Scientific Research in Dance” (in German and English, transcript: Bielefeld 2007). Articles in magazines like Ballettanz, Tanzjournal, Dance Theatre Journal, Performance Research, Maska, Contact Quarterly and online for