PLAN B

Constanza Macras/ Dorkypark (AR/DE)

The changes in the center of Berlin since the fall of the Wall are well known: abandonded buildings were occupied and used for interventions, the city turned into a melting pot for creative and partying people. However, this process of gentrification seems to be accompanied by an increasingly cultural trivialization which seems to suit the taste of a global, well-situated middle class. DER PALAST addresses this topic by focussing on the space´s architecture and by giving more visibility to past, present and future of the city and its inhabitants. Point of departure are the portraits of the british photographer Tom Hunter, whose work evolves around social issues and the restaging in the style of the Old Masters. In DER PALAST, these pictures – a series of photographs taken in Berlin about neighborhoods that are changing, shops that are closing, people who are being evicted – create new narratives between fiction and reality. As a counterpart to the architecture stands the worldwide existing format of reality TV shows. Here, not only the jurors are reproduced continuously, but also the set design and the participants. In this global cultural context, we do not need to understand the language to know exactly what is going on and which characters are being represented. In the frame of the reality show, special guests will be invited. The soundtrack is by Robert Lippok and a live band.

Duration: aprox. 100 min.

A production by Constanza Macras | DorkyPark in coproduction with Volksbühne Berlin. Constanza Macras | DorkyPark is supported by Senatsverwaltung für Kultur und Europa.

Direction and Choreography
Constanza Macras

Visual Artist
Tom Hunter

Music Composition
Robert Lippok

Dramaturgy
Carmen Mehnert

Stage design
Alissa Kolbusch

Costumes
Roman Handt

Light design
Sergio de Carvalho Pessanha

Sound design
Stephan Wöhrmann

Assistant direction
Helena Casas

By and with
Adaya Berkovich, Emil Bordás, Chia-Ying Chiang, Fernanda Farah, Yuya Fujinami, Luc Guiol, Ronni Maciel, Thulani Lord Mgidi, Anne Ratte-Polle and Miki Shoji

Musicians
Santiago Blaum, Kristina Lösche-Löwensen and Jacob Thein

Chatsworth is the name of one of the Indian townships in Durban where Indian immigrants were relocated during apartheid. In Chatsworth, Constanza Macras is interested in showing the diverse ways that the Indian diaspora has found to relate to the intersections of multiculturalism, the global and the local. Traditional Indian dance and drama entangle with contemporary forms and subject matter. Musicals are the common ground on which cultural appropriation is not condemned but seemingly necessary. Through the lens of Bollywood, the performers immerse in a universe of assimilation, transformation and resilience: the diasporic self.

Duration: 110 min.

A production by Constanza Macras | Dorkypark in coproduction with Tanz im August, HAU Hebbel am Ufer (Berlin) and Soweto Theatre (Johannesburg).  Funded by the TURN Fund of the German Federal Cultural Foundation and by the State of Berlin – Senate Department for Culture and Europe.

Kulturradio → 27/08/2018

taz → 27/08/2018

Concept, Director and Choreography
Constanza Macras

Dramaturgy
Carmen Mehnert

By and with
Emil Bordás, Miki Shoji, Fernanda Farah, Thulani Lord Mgidi, Fana Tshabalala, Varia Sjöström, Manesh Maharaj, Sivani Chinappan, Priyen Naidoo, Avishka Chewpersad and Kamara Naidoo

Bollywood Choreography
Shampa Gopikrishna

Music
Almut Lustig and Vishen Kemraj

Costume Design
Roman Handt

Stage Design
Irene Pätzug

Video
Lisa Böffgen-Hartmann and Dean Hutton

Light design
Sergio de Carvalho Pessanha

Sound design
Stephan Wöhrmann

Live-camera
Daniele Caetano

Assistant Director
Helena Casas

Hillbrow is a neighbourhood in Johannesburg: a city in a city, a suburb right in the center. Originally planned as a flagship district, Hillbrow, with its decline in the 1990s, became synonymous with violence, poverty and corruption. But thanks to many community initiatives, there are places like the Hillbrow Theater, where children and teens find security and peace. Hillbrowfication is a performance project with kids and young people (ages 5 to 22) from the Hillbrow area: a futuristic approach of life in the neighborhood, where the situation of migrants, violence and xenophobia are harsh realities of their everyday life. An alien invasion establishes a new social order based on people’s dance skills; a revolutionary princess with infinite names is able to bend the corridors of space and time… These and other stories inhabit strange worlds of possible futures and unlikely ones in Hillbrowfication. Between utopias and dystopias of ghettoisation and gentrification, the fictional future histories of Hillbrow, of its cultures and beings, create a universe where the performers negotiate and subvert self-representational narratives and their perceptions of xenophobia and violence in the city.

Duration: 90 min.

A production by CONSTANZA MACRAS | Dorkypark and the Outreach Foundation’s Hillbrow Theatre Project. In coproduction with the Maxim Gorki Theater Berlin and with the support of Goethe-Institut. Funded by the TURN Fund of the German Federal Cultural Foundation.

Berliner Zeitung → 01/06/2018

Der Tagesspiegel → 02/06/2018

Director
Constanza Macras

Choreography
Constanza Macras and Lisi Estarás

Dramaturgy
Tamara Saphir

By and with
Miki Shoji, Emil Bordás, John Sithole, Zibusiso Dube, Bigboy Ndlovu, Nompilo Hadebe, Rendani Dlamini, Brandon Magengele, Tshepang Lembelo, Brandon Magengele, Jackson Magotlane, Bongani Mangenta, Sakhile Mlalazi, Zibusiso Dube, Karabo Kgatle, Sandile Mthembu, Vusi Magoro, Tisetso Maselo, Thato Ndlovu, Simiso Ngubane, Blessing Opoka, Pearl Sigwagwa, Ukho Somadlaka and Lwadlile Thabethe

Costume Design
Roman Handt

Stage and Props
Outreach Foundation Boitumelo (Sibonelo Sithembe, Roggerio Soares)

Light and Technical Design
Sergio de Carvalho Pessanha

Assistant Light and Technical Design
Fana Dube

Assistant Sound Design
Moses Mathonsi

Assistant Directors
Helena Casas and Linda Michael Mkhwanazi

Project Coordination
Gerard Bester

Production Management
Alisa Golomzina

Production Assistant
Mike Rabenhorst

The Pose deepens the research on the subject of memory, images and representation in relation to history and architecture on a more intimate level, taking an extended diachronic perspective and investigating the self-portraying of yesterday and today – from classical portraiture through historical photo-documents to digital selfies. How do the iconographic narrative of self-presentation change through the abundance of careless images? Are selfies signs of a serious narcissistic object relationship? Are we dealing here with a regression back to the “mirror stage”, as the psychoanalyst Jacques Lacan described it observing small children, who discover their own reflection for the first time. For its Berlin Premiere, Constanza Macras created a site-specific parcours that leaves the conventional theater stage and leads the audience between the intimate spaces and monument stage pictures of the historical architecture of the Academy of Arts at Hanseatenweg. In this peripatetic walk through the parallel performances, in which walking and thinking are reconciled, the spectators experience the collective memories of the architectural space of Werner Düttmann.

Following this structure, the work can be adapted to diverse unconventional spaces and escalated according to the different formats and sizes.

Duration: 180 min.

A production by CONSTANZA MACRAS | Dorkypark in collaboration with Robert Lippok. The production is supported from the funds of the HKF – Hauptstadtkulturfonds. In cooperation with Akademie der Künste Berlin.

Tagesspiegel → 10/07/2017

Nachtkritik → 09/07/2017

taz → 11/07/2017

Direction and Choreography
Constanza Macras

Music and Composition
Robert Lippock

Dramaturgy
Carmen Mehnert

By and with
Emil Bordás, Diane Gemsch, Luc Guiol, Fernanda Farah, Nile Koetting, Thulani Lord Mgidi, Ana Mondini, Daisy Philips, Felix Saalmann, Miki Shoji and a group of 20 local guest performers (volunteers).

Musicians
Robert Lippok, Anna Schneider and Altaïr Chagué

Models
Annabel Schmieder, Oskar Staudinger and Jan Böttcher

Light Design
Catalina Fernandez

Sound
Fabrice Moinet

Sound and Video Assistant
Nikola Frenking

Stage
Laura Gamberg, Chika Takabayashi and Veronica Wüst

Costume
Daphna Munz and Constanza Macras

Costume Assistant
Anna Lena Dresia

Assistant Director
Helena Casas

Director Trainees
Neza Drucke, Inga Scheuvens and Lorenz Leander Haas

Stage Trainees
Ana Belén Cantoni, Afra Schanz and Greta Bolzoni

Production Management
Alisa Golomzina

Production Office
Mike Rabenhorst

Album deals with memory in relationship with the photographic image and self representation, tracking down memories of the time when the analogue world entered the digital age. From a nascent MTV and videoclip choreographies to today’s self-made YouTube generation compulsively hunting for the perfect self-portrait. How do we portray ourselves in front of a camera? What surroundings do we choose; what references do we make, or not? What do the portrayal, the pose tell us? Who is watching whom? Album creates different spaces as (self-) representation places and invites the audience to a parcours through parallel staged performances. The performers are accompanied by the musicians of the sound collective Raster Noton.

We are contained in nothing and photography assembles fragments around a nothing. When Grandmother stood in front of the lens she was present for one second in the spatial continuum that presented itself to the lens. But it was this aspect and not the grandmother that was eternalised.

Siegfried Kracauer “On Photography”

Duration: 4 hours

A production by CONSTANZA MACRAS | DorkyPark and HELLERAU – European Center for the Arts Dresden. Funded by the German Federal Cultural Foundation through the Doppelpass program.

Direction and Choreography
Constanza Macras

Music and Composition
Robert Lippok

Dramaturgy
Carmen Mehnert

By and with
Emil Bordás, Luc Guiol, Hyoung-Min Kim, Nile Koetting, Johanna Lemke, Mandla Mathonsi, Ana Mondini, Felix Saalmann, Miki Shoji, Mohamed Akkouch and a group of 20 local guest performers.

Musicians
Robert Lippok and Felix Karpf

Models
Annabel Schmieder, Marco Tabor and Ronny Welzel

Kitchen by
Hoa Cáp, Kong Minh Cáp and Hoang Tuan

Light Design
Sergio de Carvalho Pessanha

Sound
Stephan Wöhrmann

Sound and Video Assistant
Nikola Frenking

Stage
Laura Gamberg, Chika Takabayashi and Veronica Wüst

Stage Manager
Welko Funke

Costumes
Daphna Munz and Constanza Macras

Costume Assistant
Maren Langer

Assistant Director
Nikoletta Fischer

Direction Trainees
Sophie Ketteniß and Albrecht Schroeder

“The hard life began on the day I ended my career. I have no flat, no job and no regular income,” says the Chinese acrobat Cheng Fei, seven-times national champion and world champion. “The flowers, the applause, the flags – it feels like a different life.” In The Ghosts, Constanza Macras works with chinese circus acrobats. It looks like these former acrobats, who once won fame and fortune for their country with their bodily discipline, have been forgotten and “decommissioned” by Chinese society, even though many of them are still quite young. They recall the “hungry ghosts” – according to Chinese popular mythology, lost souls who have been forgotten by their descendents and lead a miserable existence in an intermediate world. For Macras, the former acrobats’ materially precarious, ghostly condition is a metaphor for life in contemporary China, with its contradictions, social injustice and power structures.  The Ghosts, like the Chinese Ghost Festival in July, allows the acrobats a temporary return to the land of the living. The piece makes them and their stories visible once again. Alongside four members of her own company Dorkypark, Macras has cast five chinese circus acrobats and one musician. As always, the choreographer approaches her subject matter with various theatrical means, such as dance, music and text.

Duration: 100 min.

A production of Constanza Macras/Dorkypark and Goethe-Institut China in coproduction with Tanz im August (DE), Schaubühne am Lehniner Platz (DE), CSS Teatro stabile di innovazione del Friuli Venezia Giulia (IT) and Guangdong Dance Festival (CN). Funded by Capital Cultural Fund (DE), Berlin Governing Mayor of Berlin – Department for Cultural Affairs (DE) Supported by the Berlin Senate Cultural Affairs Department (DE) and the kind support of Garden Hotel Guangzhou (CN)

Choreography and Direction
Constanza Macras

Dramaturgy
Carmen Mehnert

By and with
Emil Bordas, Fernanda Farah, Daisy Phillips, Yi Liu, Juliana Neves, Huanhuan Zhang, Huimin Zhang, Xiaorui Pan, Lu Ge, Chico Mello, Wu Wei and Jiannan Chen

Music
Chico Mello in collaboration with Wu Wei, Jiannan Chen, Fernanda Farah and Yi Liu

Light Design
Sergio de Carvalho Pessanha

Sound
Stephan Wöhrmann

Video- and Photodesign
Manuel Osterholt

Set Design
Janina Audick

Set Design Assistant
Veronica Wüst

Costume Design
Allie Saunders

Assistant Director
Nikoletta Fischer

On Fire – The Invention of Tradition by Constanza Macras deals with the re-evaluation of heritage and tradition in relation to segregated cultural groups, which are being articulated in new ways in urban life – and with self-defined contemporary practices and rituals. The piece wishes to reflect on post-colonial / post – apartheid ongoing power struggles and the artistic deconstructions of colonial/ patriarchal imageries of „the other“. For this piece, Constanza Macras works with a mixed cast of South African and Berlin-based performers and in collaboration with the work of Johannesburg-based artist Ayana V. Jackson, whose photography interrogates and deconstructs other aspects of a specific chapter that we might add to the history of “invented traditions”: the visual representation of the “other” in historical and journalistic photography.

Duration: 90 min.

A production by CONSTANZA MACRAS | DorkyPark in collaboration with Ayana V Jackson and Dean Hutton and in co-production with Dance Umbrella Johannesburg (ZA) and Maxim Gorki Theater (DE). Funded by the German Cultural Foundation (Kulturstiftung des Bundes) and the Governing Mayor of Berlin / Senate Chancellery – Cultural Affairs Department (Senatskanzlei für Kulturelle Angelegenheiten – der Regierende Bürgermeister Berlin) and with the support of Rudolf Augstein Stiftung (DE), Goethe Institut Südafrika (DE), Dance Forum (ZA) and Momo Gallery (ZA)

Deutschlandfunk → 30/09/2015

Tagesspiegel → 30/09/2015

taz → 01/10/2015

Direction and Choreography
Constanza Macras

Dramaturgy
Carmen Mehnert

By and with
Louis Becker, Emil Bordás, Lucky Kele, Jelena Kuljić, Fernanda Farah, Diile Lebeko, Mandla Mathonsi, Thulani Mgidi, Melusi Mkhwanjana, Felix Saalmann, Fana Tshabalala and John Sithole

Visual Artist
Ayana V. Jackson

Video Design
Dean Hutton

Costume Design
Constanza Macras

Costume Assistant
Noluthando Lobese

Assistant Director
Nikoletta Fischer

Sound Design
Jelena Kuljic and Abigali Thatcher

Lightning Design
Catalina Fernandez

Technical Direction
Abigali Thatcher

In The Past, Constanza Macras explores the art of memory, or ars memoriae, in which memories are particularly strongly associated with physical locations, rooms and architecture.  Created with the collaboration of Swiss-Italian music composer Oscar Bianchi, who composed the music, the starting point for this piece was the city as a concrete geographical location, as an anchor for memory, a mental picture and a cast of mind. What happens with our memories, what happens to those who are remembering when these physical places are destroyed? The actions of the performers on stage refer to the ancient techniques of ars memoriae, whereby in order to recall the thing to be remembered, we first have to find and organize our impressions. At the heart of this mnemonic technique is spatial orientation. How do we use rooms and places to remember? The Past explores architectonic places as narrative instruments of our history – in the rewriting of history, for overcoming the wounds of the past, and for understanding contemporary events (personal and global) as part of a constant cycle that we experience as the passing of time.

Duration: 105 min.

A production by CONSTANZA MACRAS | DorkyPark and HELLERAU – European Center for the Arts Dresden in coproduction with Schaubühne Berlin. Funded by the Kulturstiftung des Bundes through the Doppelpass program with the support of the Swiss Arts Council Pro Helvetia

Director and Choreography
Constanza Macras

Music and Composition
Oscar Bianchi

Dramaturgy
Carmen Mehnert

By and with
Louis Becker, Emil Bordás, Abdallah Damra, Fernanda Farah, Luc Guiol, Miako Klein, Nile Koetting, Johanna Lemke, Ana Mondini, Yuka Ohta, Felix Saalmann and Miki Shoji.

Musicians
Yuka Otha, Susanne Fröhlich and Alicja Pilarczyk

Light Design
Sergio Pessanha

Sound
Stephan Wöhrmann

Stage
Laura Gamberg and Chika Takabayashi

Metal Works
Werner Knoof and Andreas Nestler

Stage Manager
Welko Funke

Costume
Allie Saunders

Costume Assistant
Daphna Munz

Assistant director
Felipe Amaya, Helena Casas and Nikoletta Fischer

Assistant to the music composer
Vincenzo Mazzone and Clara Calero Durán

Special thanks to
the historical witnesses Hanna Günzler, Ursula Henning, Nora Lang and Ingrid Schulz

Open for Everything is a travel through the stagnation of Roma communities in Europe whose chances to work like any other citizen are rather low, where itinerant traditions have been replaced by sedentary life beside the uprootedness of the group of dancers that move around the world following working opportunities. Since 2010, Constanza Macras has been researching the different ways of life, dance styles and music of the Roma in Hungary, the Czech Republic and Slovakia. In the course of this work she has brought together for Open for Everything a large ensemble comprising Roma musicians and performers, amateurs of different ages, and dancers from her company Dorkypark. It is with great aplomb that these very different people recount their lives and their dreams, their despair and their passions. This journey uses music and dance to lead us through the lives of the European Roma of today, seizing upon, playing with, and depicting with humour the prejudices, clichés, misunderstandings, similarities, traditions, discrimination, poverty and violence. Who is making use of whose prejudices? And who are the true nomads of the 21st century?

Duration: 100 min.

A production by CONSTANZA MACRAS | Dorkypark and the Goethe Institut. In coproduction with Wiener Festwochen, New Stage of National Theatre Prague, Trafó House of Contemporary Arts Budapest, International Theatre Festival Divadelná Nitra, HAU Hebbel am Ufer Berlin, Kampnagel Hamburg, HELLERAU – European Center for the Arts Dresden, Dansens Hus Stockholm and Zürcher Theater Spektakel. Supported by the Capital Cultural Fund and the Governing Mayor of Berlin – Department for Cultural Affairs and Open Society Foundations – with contribution of the Arts and Culture Program of Budapest. In collaboration with Workshop Foundation. Folklore skirts by Romani Design.

Zeit Online → 26/04/2012

Nachtkritik → 10/05/2012

Direction and Choreography
Constanza Macras

Dramaturgy
Carmen Mehnert

From and With
Emil Bordás, Hilde Elbers, Anouk Froidevaux, Fatima Hegedüs, Ádám Horváth, László Horváth, Hyoung-Min Kim, Denis Kuhnert, Viktória Lakatos, Zoltán Lakatos, Iveta Millerová, Elik Niv, János Norbert Orsós, Monika Peterová, Rebeka Rédai, Marketa Richterová, Ivan Rostás, Magdolna Rostás and Viktor Rostás

Musicians
Marek Balog / Gitans: Milan Demeter, Milan Kroka, Jan Surmaj and Radek Sivak

Stage Design
Tal Shacham

Costume Design
Gilvan Coêlho de Oliveira

Photos
Manuel Osterholt

Light Design
Sergio de Carvalho Pessanha

Sound
Mattef Kuhlmey and Stephan Wöhrmann

Music Adviser
Kristina Lösche-Löwensen

Folklore Teacher
Monika Balogová and Vladimír Balog

Stage Technician
Welko Funke

Photo Technician
Tobias Götz

Costume and Props Technician
Marcus Barros Cardoso

Assistant Direction
Annika Kuhlmann and Joao Victor Toledo

Assistant Stage Design
Juliette Collas

Assistant Costume Design
Magdalena Emmerig

Does everyday life in a metropolis pose a threat to the people? In HERE/AFTER, Constanza Macras along with four performers and one musician research the nature of Agoraphobia  – the fear of certain, especially public and vast spaces, as well as of masses of people – with all its peculiarities like hyperventilation, panic attacks, dizziness and disorientation. The piece deals with the anonymity and growing isolation of the individual in urban life. Never before has it been so easy to be “by oneself” in a society which makes a confrontation with the “outside” avoidable through the sheer endless possibilities of communicating via the internet, chatrooms and delivery services. In fact, what is out there that one absolutely has to experience live?

Duration: 100 min.

A production by CONSTANZA MACRAS| Dorkypark and HAU- Hebbel am Ufer (DE). Funded by Hauptstadtkulturfonds and the Regierenden Bürgermeister von Berlin – Senatskanzlei – Kulturelle Angelegenheiten.

Direction and choreography
Constanza Macras

Dramaturgy
Carmen Mehnert

Text
Constanza Macras

From and with
Fernanda Farah, Tatiana Eva Saphir, Miki Shoji, Ronni Maciel, Santiago Blaum and Janaina Pessoa

Special appearance
Nile Koetting on Skype and Hiromi Iwasa on Youtube

Stage design
Tal Shacham

Costume design
Gilvan Coelho de Oliveira

Music
Santiago Blaum

Photo and video
Manuel Osterholt

Light Design
Sergio de Carvalho Pessanha

Sound
Stephan Wöhrmann

Stage technician
Welko Funke

Assistant director
Ida Clay, Sabine Schad and Max Luz

Assistant costume
Magdalena Emmerig

Assistant stage
Roberta Scalmani

In Berlin Elsewhere, strangers meet at a place of mental captivity. They suffer from common social maladies, neurosis, bipolarity, fetishism, and fetishism of commodities. A place that is somewhere between exclusion, madness, and struggle. What kind of Madness does our society permit before someone is confined? What is confinement in the era of medication? Many actions that required confinement in former times no longer do, but our society still shares the assumption that the loss of civil rights are akin to madness, immigration, and poverty. The daily mechanisms of exclusion start in childhood and are an expression of the society we live in. Interdependencies between poverty, madness and civil rights have not changed for centuries, it seems. The city of Berlin is the perfect example of a “locked up” and “excluded” city, where segregation, madness, and confinement have historically played a strong role: Unemployed people from the new federal states who were unable to get a foot in the door in the years following reunification; Immigrants who studied in East Berlin and were able to live in the city legally but lost their civil rights with the fall of the Wall and were stranded without the option to return to “their” countries. Passengers par excellence, like the medieval ships of fools, whose passengers did not fit the fixed social norms and were abandoned to the endless waters. We’re left with the uneasy presentiment that a long lost ship might one day return, or that such ships might again be created, clandestinely, and set off anew, again and again. Thanks God we will always have the BBC to show that it is much worse somewhere else. The madness can begin, in Berlin Elsewhere.

Duration: 105 min.

A production by CONSTANZA MACRAS | Dorkypark and the Schaubuehne am Lehniner Platz Berlin in coproduction with HELLERAU – European Center for the Arts Dresden, Maison des Arts de Creteil, the Perspectives Festival Saarbruecken and Tanzhaus nrw. Funded by the Hauptstadtkulturfonds and the Regierender Buergermeister Berlin – Senatskanzlei – Kulturelle Angelegenheiten.

Der Tagesspiegel → 14/04/2011

Direction and Choreography
Constanza Macras

Dramaturgy
Carmen Mehnert

By and with
Hilde Elbers, Fernanda Farah, Anouk Froidevaux, Hyoung-Min Kim, Denis Kuhnert, Johanna Lemke, Ronni Maciel, Ana Mondini, Elik Niv, Miki Shoji

Costume Design
Gilvan Coêlho de Oliveira

Stage Idea
Steffi Bruhn

Stage Realisation
Juliette Collas

Furniture
Steffi Bruhn

Light Design
Sergio de Carvalho Pessanha

Sound
Stephan Wöhrmann

Photos
Manuel Osterholt and Constanza Macras

Stage Technician
Welko Funke

Assistant Direction and Dramaturgy
Max Luz

Assistant Costume
Marcus Barros Cardoso

Assistant Stage Technician
Riccardo Frezza

Music
Almut Lustig, Kristina Lösche-Löwensen

Megalopolis is not a specific, but a metaphorical place. The scene is the city under the impact of globalism. The city is characterized by the illegibility of today’s megacities, born into chaos. Its features are unbridled growth, decay and endless disbandment. The city’s density and tightness dissolve the borderline between private and public sphere, it almost disappears. At the same time, this boundlessness forces us to perceive the city as collage which consists of countless biographical scraps. The fight of two street vendors for the best spot is an existential confrontation today – but will be forgotten tomorrow. Megacities are a paradigm for spaces in which people live without knowing each other. The ever present surveillance system not only constantly creates supervised beings; it also produces a new form of self-perception. Which correlations are still valid here? Will the urban development follow principles unknown to us? Is the discernable decay of social relations a cause or an effect of our cities‘ apparent deterioration? Megalopolis is a promise and a curse. Megalopolis is a beaming city. Megalopolis is an uncontrollable construct, constantly in motion.

In 2010, Constanza Macras was awarded the German theater-award DER FAUST for best choreography for MEGALOPOLIS.

Duration: 105 min.

A production by Constanza Macras | Dorkypark and Schaubühne am Lehniner Platz Berlin. In coproduction with HELLERAU – European Center for the Arts Dresden and MESS Sarajevo.

Der Tagesspiegel → 18/01/2010
„Ihre Methode hat Macras weiterentwickelt. Die Choreografin arbeitet mit Übertreibung und Überforderung bis zum Overkill. Sie spitzt Stereotypen zu, rückt den Klischees über ethnische Minderheiten zu Leibe. [...] Sie verbindet Trash, Tragik, Komik und Reflexion zu einem furios tänzerischen Abend über die Stadt, den Müll und die Körper.“ „Constanza Macras has developed her method. The choreographer works with exaggeration and excessive demands until overkill. She sharpens stereotypes and tackles clichés about ethnic minorities. [...] She connects trash, tragedy, humor and reflection to a furious dancing evening about the city, the garbage and the bodies.” (Sandra Luzina)

Süddeutsche Zeitung → 19/01/2010
„Mit „Megalopolis“ holt die Choreographin nun zum globalen Streich aus, und ihre „DorkyPark“ – Darsteller erweisen sich auch dafür als großartiges Instrument. So schnell, wie sie Hosen, Hängerchen und High Heels wechseln, tauschen sie die Farben ihrer Figuren.“ „With „Megalopolis“ the choreographer strikes out to her global coup and her “DorkyPark” – performer are the perfect instrument for it. As fast as they change trousers, shirts and high heels, they modify the colors of their figures.” (Dorion Weickmann)

Märkische Oderzeitung → 20/01/2010
„Zwischen die athletisch-dynamischen Ensemble-Bilder choreografiert Constanza Macras immer wieder solistisch ausgeformte Szenen voll Melancholie, Depression und Aufbegehren. [...] Constanza Macras will dem Publikum keine Lektion erteilen, aber was sie zu erzählen hat, weiß sie – mit Humor und Sinnlichkeit – präzise und frapant zu vermitteln.“ „Between the athletic, dynamic pictures of the ensemble Constanza Macras choreographs solo scenes full of melancholy, depression and rebellion. [...] Constanza Macras doesn’t want to teach the audience a lesson, but what she has to say, she communicates precisely and impressively with humor and sensuality.” (Irene Bazinger)

Tip Berlin → 04/02/2010
„Constanza Macras ́neues Stück „Megalopolis“ an der Schaubühne ist eine Collage ineinandergeschnittener, verdichteter Momentaufnahmen einer globalisierten Megacity, nervös, melancholisch, komisch.“ “The new piece from Constanza Macras “Megalopolis” at the Schaubühne is a collage of nested, compact snap-shots of a global mega city. Nervous, melancholic, strange.” (Peter Laudenbach)

Märkische Allgemeine → 11/02/2010
„Dieser Tanz illustriert keine vorgegebenen Begriffe, sondern – ein großes, fast vergessenes Wort – er emanzipiert den Menschen spielerisch! In den diversen pop- und subkulturellen Zitaten, in Anziehung und Abstoßung verstehen wir, wie sich Personen ihre Räume erobern – jenseits des „Typical Plan“.“ „This dance doesn’t illustrate defined terms, but - a huge almost forgotten word – it emancipates the human being playfully! Within the many pop and sub cultural quotations, within attraction and rejection, we understand how people conquer their spaces beyond the “typical plan”. (Christian Rakow)

Direction and Choreography
Constanza Macras

Dramaturgy
Carmen Mehnert

By and with
Fernanda Farah, Anouk Froidevaux, Hyoung- Min Kim, Denis Kuhnert, Johanna Lemke, Ronni Maciel, Ana Mondini, Franz Rogowski, Miki Shoji, Damir Zisko

Stage Design
Alissa Kolbusch

Costume Design
Gilvan Coelho de Oliveira, Sophie du Vinage, Julia Weis

Sound
Stephan Wöhrmann

Light Design
Sergio de Carvalho Pessanha

Video
Constanza Macras, Maria Onis, Tobias Götzolt

Music
Santiago Blaum, Kristina Lösche-Löwensen, Almut Lustig

Assistant Direction
Max Luz

Assistant Stage
Sophie du Vinage, Anja Steglich

Constanza Macras was born in Buenos Aires, where she studied dance and fashion design at the Buenos Aires University (UBA). She continued her dance studies in Amsterdam and at the Merce Cunningham Studio in New York and showed her first own works in Amsterdam. In 1995, Constanza moved to Berlin and danced for various companies. In 1997, she founded her own first company TAMAGOTCHI Y2K and presented performances that combined artists from various disciplines. In 2003, she founded together with Carmen Mehnert the company DorkyPark, an interdisciplinary ensemble that works with dance, text,  live music and film. The company has been touring their over 25 productions extensively across the world, being invited to festivals such as the Festival d’Avignon,  the Wiener Festwochen, the Seoul Performing Arts Festival (SPAF); the Buenos Aires International Festival (FIBA), Attakalari – India Biennal or Dance Umbrella Johannesburg. In their homebase Berlin, the company collaborates with venues such as the Schaubühne am Lehniner Platz, Maxim Gorki Theatre, HAU Hebbel am Ufer and Volksbühne. Next to the productions with her company, Constanza has also created pieces for Teatro Colón’s Permanent Ballet Company in Buenos Aires, the Göteborg Opera Dance Company, the Saarländisches Staatstheater Ballett as well as  commission works by the Goethe-Institut São Paulo and the Goethe-Institut Córdoba. In 2006, she created together with Thomas Ostermeier Ein Sommernachtsraum, a collaboration with the Schaubühne ensemble and dancers from DorkyPark. In 2008, Constanza received the “Goethe-Institut Award” for her piece Hell on earth. In 2010, she received the “Arts at MIT William L. Abramowitz Residency” at the Massachusetts Institute of Technology (MIT) and the German theatre prize „Der Faust“ for best choreography for her piece Megalopolis.

Apart of its productions the company is also engaged in the organisation of curatorial programs mixing theory and praxis such as “Dance about Architecture“, an international symposium curated by Constanza Macras and Lukas Feireiss and “On Fire“, a residence program with South African and Berlin artists on gender and tradition.

Currently Constanza is preparing new productions for 2019 and 2020 in cooperation with the Volksbühne Berlin.

The company’s productions have been supported throughout the years by the Berlin Senate Chancellery – Cultural Affairs Department, the Hauptstadkulturfonds (Capital Cultural Fund), the Kulturstiftung des Bundes (German Cultural Foundation), the Goethe-Institut, NPN (National Performance Network), Fonds Darstellende Künste among other public and private funding institutions from Germany and abroad.

Kulturradio → 27/08/2018

taz → 27/08/2018

Berliner Zeitung → 01/06/2018

Der Tagesspiegel → 02/06/2018

Tagesspiegel → 10/07/2017

Nachtkritik → 09/07/2017

taz → 11/07/2017

Deutschlandfunk → 30/09/2015

Tagesspiegel → 30/09/2015

taz → 01/10/2015

Zeit Online → 26/04/2012

Nachtkritik → 10/05/2012

Der Tagesspiegel → 14/04/2011

Der Tagesspiegel → 18/01/2010
„Ihre Methode hat Macras weiterentwickelt. Die Choreografin arbeitet mit Übertreibung und Überforderung bis zum Overkill. Sie spitzt Stereotypen zu, rückt den Klischees über ethnische Minderheiten zu Leibe. [...] Sie verbindet Trash, Tragik, Komik und Reflexion zu einem furios tänzerischen Abend über die Stadt, den Müll und die Körper.“ „Constanza Macras has developed her method. The choreographer works with exaggeration and excessive demands until overkill. She sharpens stereotypes and tackles clichés about ethnic minorities. [...] She connects trash, tragedy, humor and reflection to a furious dancing evening about the city, the garbage and the bodies.” (Sandra Luzina)

Süddeutsche Zeitung → 19/01/2010
„Mit „Megalopolis“ holt die Choreographin nun zum globalen Streich aus, und ihre „DorkyPark“ – Darsteller erweisen sich auch dafür als großartiges Instrument. So schnell, wie sie Hosen, Hängerchen und High Heels wechseln, tauschen sie die Farben ihrer Figuren.“ „With „Megalopolis“ the choreographer strikes out to her global coup and her “DorkyPark” – performer are the perfect instrument for it. As fast as they change trousers, shirts and high heels, they modify the colors of their figures.” (Dorion Weickmann)

Märkische Oderzeitung → 20/01/2010
„Zwischen die athletisch-dynamischen Ensemble-Bilder choreografiert Constanza Macras immer wieder solistisch ausgeformte Szenen voll Melancholie, Depression und Aufbegehren. [...] Constanza Macras will dem Publikum keine Lektion erteilen, aber was sie zu erzählen hat, weiß sie – mit Humor und Sinnlichkeit – präzise und frapant zu vermitteln.“ „Between the athletic, dynamic pictures of the ensemble Constanza Macras choreographs solo scenes full of melancholy, depression and rebellion. [...] Constanza Macras doesn’t want to teach the audience a lesson, but what she has to say, she communicates precisely and impressively with humor and sensuality.” (Irene Bazinger)

Tip Berlin → 04/02/2010
„Constanza Macras ́neues Stück „Megalopolis“ an der Schaubühne ist eine Collage ineinandergeschnittener, verdichteter Momentaufnahmen einer globalisierten Megacity, nervös, melancholisch, komisch.“ “The new piece from Constanza Macras “Megalopolis” at the Schaubühne is a collage of nested, compact snap-shots of a global mega city. Nervous, melancholic, strange.” (Peter Laudenbach)

Märkische Allgemeine → 11/02/2010
„Dieser Tanz illustriert keine vorgegebenen Begriffe, sondern – ein großes, fast vergessenes Wort – er emanzipiert den Menschen spielerisch! In den diversen pop- und subkulturellen Zitaten, in Anziehung und Abstoßung verstehen wir, wie sich Personen ihre Räume erobern – jenseits des „Typical Plan“.“ „This dance doesn’t illustrate defined terms, but - a huge almost forgotten word – it emancipates the human being playfully! Within the many pop and sub cultural quotations, within attraction and rejection, we understand how people conquer their spaces beyond the “typical plan”. (Christian Rakow)

DER PALAST

Chatsworth

Hillbrowfication

The Pose

Album

The Ghosts

On Fire – The Invention of tradition

The Past

Open for Everything

HERE/AFTER

Berlin Elsewhere

Megalopolis