|AGM issue #0
post theater (new york/berlin)
post theater is a theater company without a theater and without a company: there is no art space permanently used by post theater and there is no permanent ensemble of performers; instead there is a team of artists and academics of various backgrounds who continuously switch roles and responsibilities. You can call post theater a think tank.
Although named post theater, there is no focus on theater at all. Theater is just the point of departure. Hence post theater is open to all forms, genres, media and contents. post theater is a way of doing things.
post theater's re-occurring themes are identity and technology. These issues relate form to content and vice versa. To what degree does technology act as a protagonist, and to what degree do performers resemble machines?
post theater plays with reality and fake, with its audience and its audience's expectations and with the show before the show. It aims to engage with its audience in various ways. It wants to seduce them to take actively part in performances. The works should be multi-sensory, tangible, daring, curious, surprising, magic.
post theater's productions are conceived from all possible sources, not only verbal texts, and if so, not only literature based. Frequently biographical references are relevant to the development of a piece.
post theater is post-ideological. Therefore it is concept-, design- and public relations-conscious.
post theater has been founded 1998 in New York.
Entstand 1998 im Umfeld der Performance Studies der New York University. Es ist weniger ein Theaterensemble als vielmehr ein offener kreativer Pool mit demokratischen Strukturen. Theaterleute, Multimedia-Designer, DJ's, Fotografen, Architekten und Schauspieler nutzen hier über die Kontinente hinweg ihre individuellen Ausdrucksmöglichkeiten für gemeinsame Projekte. post theater tourte mit Performances und Installationen wie u.a. "Hiroko Total", "x-isle" , „The Void", "The Real Forensic", „The Substation", "Der Reisende", "301/302", „Penal / Colony" sowie „The Last Circus" von New York nach Berlin, Köln, Stuttgart, Wien, Belgrad, Singapur und Seoul und war zu Gast bei vielen internationalen Festivals.
Klaus Fehling (Author) works as dramaturge and author. He wrote the scripts for the post theater productions The Last Circus and The Real Forensic. He writes essays and articles for books and newspapers (e.g. S¸ddeutsche Zeitung, Frankfurter Allgemeine Sonntagszeitung) and is theater critic for the Cologne based StadtRevue Kˆln Magazins. In 2002 and 2003 he received a stipendium at Akademie Schloss Solitude, where his play Klopfzeichen. Leuchtfeuer. Rauchsignale was shown in December 2003, directed by Marcel Keller. In 2004 he received a stipendium at the Stuttgart Literaturhaus by the Economy Club Stuttgart.
Errol T. Harewood (Performance) was born in Guyana, South America. He was member of the British Army music corps as a drummer and percussionist. After leaving the military he stayed in Germany and worked with different music projects before he started acting. His first theater role was Coltes’ Kampf des Negers und der Hunde (Stadttheater Gie_en, directed by Siemen R¸haak).
He appeared in many well known movies, for example Straight Shooter (with Dennis Hopper), Joe and Max, (with Til Schweiger), September (by Max F‰rberbˆck) and (T)Raumschiff Surprise (by Michael "Bully" Herbig).
He also plays a lot for TV, e.g. for the RTL series Der Clown and the ARD/SWF produced Tatort Kalte Herzen. Besides he plays a lot in theater and was part of a lot of audio dramas.
Max Schumacher (Concept / Director / Dramaturge) studied dramaturgy at Humboldt University Berlin and performance studies at New York University. He founded post theater in New York in 1998. His pieces toured to Germany, the USA, Korea, Singapore, Austria and Serbia and have been invited to several international festivals. He was a fellow at the Akademie Schloss Solitude Stuttgart in 2001. In 2003 he conceived “matchmaker matchmaker” (with Matthias Bˆttger) and „Turnover (House, Unsettled)“ (with Hiroko Tanahashi).
Alice Schauhoff (Konzept, Pressefotografie) works as photographer. She is a graduate of the photo design program at Lette Berlin. She worked with the Berlin agency Girault-Totem, and since October 2001 with the artist Martin Mlecko.
Andreas Horbelt (Director / Dramaturge) studied dramaturgy and theater studies at Munich and Vienna University, as well as Arts- and Media Administration at Eisler Conservatory, Berlin. His academic focus is on theater and theatricality on the internet, as well as the relationship of theater and new media in general. He works as author and dramaturge for theater and also as concept developer, ghostwriter and producer for event marketing agencies in Berlin and Munich.
Julie Randall (Performance) was born in Santa Monica, USA. She is a graduate of the music program (BA) at university of California in San Diego and of the Master of music at the university of Southern California. She studied at the Centro di Cultura Italiana in Bologna and joined master-classes Marni Nixon, Frederica von Stade, Horst G¸nter, and Florence Quivar.
Julie Randall was invited to many festivals including Biennale f¸r Musik Berlin, Aspen Festival, Colorado, Santa Barbara Vocal Institute, and the international summer courses for new music in Darmstadt.
2001 was published a recording of the opera Tania by Anthony Davis with Julie Randall as Tanias Mutter / Betty Ford.
Hiroko Tanahashi (Concept / Design)
is a graduate of the Tisch School of the Arts‘ Film and Television Program at New York University (BFA) and of the MFA Program in Multi Media Design and Technology at Parsons School of Design, New York, where she focused on interactive media. She presented various installations and performances, e.g. her series of „Tanabata“ performances. In 2003 she has been invited by the Dessau Bauhaus Foundation to produce a multi media dance piece, „Bisscuit“. Her interactive theater piece „The Last Circus“ has been shown in New York and Berlin. For the Theater am Halleschen Ufer Berlin she conceived the performance „Turnover (House, Unsettled)“.
Zeitblom (Soundscape) is musician and composer. From 1984 to 1993 he played with his avantrock band Sovetskoe Foto. He used to play with various New York based musicians like John Zorn and Arto Lindsay. In 2003 he founded the experimental rock band the no ensemble together with Alexander Hacke und Rudi Moser (Einst¸rzenden Neubauten).
Zeitblom is also well known for his installation art. His project Bioadapter was shown at PhonoTAKTIK Festival Wien, Berlin Beta Medienkongress, ZKM Karlsruhe, Musikprotokoll Steirischer Herbst Graz, and Neues Kunstmuseum Luzern. He is now busy with a triology of installations bioplex – biomorph – bioscope (2001 – 2005).
Besides zeitblom does a lot of composing for theaters and audio dramas, he for example wrote the music for Les Sortileges by Christian Marclay at Munich Marstall Theater 1996. His audio dramas include those with Kalle Laar, e.g. Das Warheads-Oratorium, Metropolis, Amokkopf, and M – eine Stadt sucht einen Mörder.
Art historian, curator and artist, born 1977, currently candidate MA Visual Culture KUA Copenhagen. Design collaborations and teaching in Denmark, solo and group art projects and cultural productions in Denmark, Germany and Italy.
Ibens cultural production and artistic practice put into question the process of generating meaning. She seeks to unveil and challenge the process of how meaning is created and established in different discourses. By questioning these existing ways of seeing, understanding and perceiving, new perspectives and dialogues can be created. She often chooses to work with specific locations and encourages the observer to take part in the project.
Born 1967, lives and works in Berlin. Artist, Curator and Project Manager working in the cultural field since 1992. MA Candidate “Art in Context” UdK Berlin (2005), Artists Professional Development Programme ETA Brighton (2002), Political Sciences Studies at UdS Pisa (1992), Architecture Studies at UdS Firenze (1987). Awarded residencies in London (Florence Trust, 2002), Berlin (Leonardo, 2003) and Rotterdam (Erasmus, 2004). Background in technical and industrial areas, he applied these management skills in the production and organisation of art events. In the course of the last few years he developed projects with a strong theoretical background, exploring opportunities of pluralism and connectivity and bridging the fields of artistic practice, curatorship and critical writing.
Nezaket Ekici uses social and cultural quotidian experiences in her work. That context is absorbed to create a performance that uses the body as symbol, in interaction with technology and the audience. In her performances Ekici places the quotidian into a new context and invites the audience to make new associations.
Nezaket Ekici was born in Turkey in 1970 and moved in 1973 with her family to Germany, where she lives and works now. She studied Art History and Art Pedagogy in Munich. Since 2001 she has been receiving educational and professional support by Marina Abramovic, Tania Bruguera and Ilya Kabakov.
Nezaket has been presenting her work in international exhibitions since 2000: The Irish Museum of Modern art in Dublin (2001), galleries in Munich, Berlin and Mainland (2002), and international festivals: The Women's Art Festival in Aleppo (Syria) and the Biennale in Venice, both in 2003.
The class of Marina Abramovic is a group of young artists linked to the Hochschule f¸r Bildende K¸nste of Braunschweig (Germany). The term living installations refers to performances of long duration which employ different media and techniques where the body is the basic means of expression, the underlying common denominator that unites the different poetics of the performer.