Impulse Theater Festival

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13— 23 June 2019

Academy of the Precarious #1 — Between Village Square and World Market

Independent theatre between local relevance and international co-production
14-17 June, studiobühneköln and production venues in the Cologne region (excursions)
Led by: Kolja Burgschuld

The independent theatre combines explorations of local communities, individual biographies, public spaces, local city societies with international collaborations, co-productions and touring dates. In this tension between the local and the global – so the theory goes – one constant of the independent theatre is evident: the fact that it consistently occupies precarious territory. The reasons for this are not purely artistic: in three subject blocks the Academy focusses on aesthetic, cultural policy and economic discussions.  In doing so, the Academy itself will enter precarious areas by starting each day with an excursion into the uncertain. 

Registration is compulsory. 
More information on the registration procedure and costs is to be found here.

Impuls18 Akademie Lindenstraße 4
Impuls18 Akademie Lindenstraße 12
Impuls18 Akademie Lindenstraße 22
Impuls18 Akademie Tischgespräche1 3
Impuls18 Akademie Tischgespräche1 9
Impuls18 Akademie Tischgespräche1 19
Impuls18 Akadiemie Kontainerhafen 2 2
Impuls18 Akadiemie Kontainerhafen 3
Impuls18 Akadiemie Kontainerhafen 7
Impuls18 Akadiemie Kontainerhafen 9
Impuls18 Akadiemie Kontainerhafen 21
Impuls18 Akadiemie Kontainerhafen 18
Impuls18 Akadiemie Tischgespräch 2 9
Impuls18 Akadiemie Tischgespräch 2 7
Impuls18 Akadiemie Fortuna 5
Impuls18 Akadiemie Fortuna 18
Impuls18 Akadiemie Fortuna 16

14.06. THE WORLD IS A VILLAGE — Artistic practice

What are the local, national and international contexts in which artists make their work? Why do they work with local communities or in public spaces? Why do they conceive certain works for a multinational audience? And what relation do these strategies have to the thematic exploration of urban and rural spaces and globalization?  

10:00—11:30 HONEST TRAVEL – Excursion to the set of ‘Lindenstraße’

10:00 Meeting point: The set for ‘Lindenstraße’, WDR studios at Cologne-Bocklemünd, Freimersdorfer Weg 6, 60829 Köln (Travel to U-Bahn station “Köln-Bocklemünd” or bus stop “WDR” in Cologne-Bocklemünd)
Tour and discussion: Floor manager for ‘Lindenstraße’
Soundtrack: Die Rabtaldirndln

Since its first broadcast in 1985, millions of television viewers have followed events in Munich’s Lindenstraße. However, it is all mocked up beside a motorway in Cologne. The home of the Rabtaldirndln is also an imaginary territory – and the starting point for performances about the reality of lives between the city and the countryside. Inspired by the Chinese copy of the Austrian village Hallstatt in their soundtrack the Rabtaldirndln dream of building a copy of the Lindenstraße in the Rabtal. Together with one of the ‘Lindenstraße’’s floor managers, participants will investigate the scenery of the Lindenstraße and the connections between artistic creation in local and international contexts.  
(Followed by shuttle bus to studiobühneköln)

12:00—17:00 Presentations and table talks, studiobühneköln

12:00 Lunch
13:00 I WANT TO BREAK FREE: Keynote by Cis Bierinckx
13:30 COORDINATES: Artistic Positions Short presentations by Katalin Erdődi, Corsin Gaudenz, Bernhard Herbordt & Melanie Mohren (Herbordt/Mohren), Kieron Jina & Antje Schupp, Stefan Kaegi (Rimini Protokoll), Jens-Erwin Siemssen (Das letzte Kleinod), chaired by Johanna Kluhs & Kolja Burgschuld
15:00 Break
15:30 ATLAS OF THE INDEPENDENT THEATRE: Table talks with Katalin Erdődi, Corsin Gaudenz, Bernhard Herbordt & Melanie Mohren, Kieron Jina & Antje Schupp, Stefan Kaegi, Jens-Erwin Siemssen
16:30 Summing up: Johanna Kluhs & Kolja Burgschuld
17:00 Shuttle bus to Ringlokschuppen Ruhr (23:30 Shuttle bus to Cologne)

Biographies

Cis Bierinckx was a member of the leading team of the DeSingel arts centre in Antwerp from 1984 to 1986. Since the 1980s he has worked together with artists including Meg Stuart, William Kentridge, Tracey Rose, Peter Halasz and Vera Mantero and for a range of festivals including Sommerszene Salzburg and the Salzburg Festival, Springdance Utrecht, Holland Festival, Mickery Theatre and the TIME Festival Ghent. His roles have included Artistic Director of the Beursschouwburg in Brussels and the Belluard Festival in Fribourg. Since 2015 he has lived and worked in Düsseldorf as a critic, producer and curator as well as a jury member for the Flemish Ministry of Culture and the American Camargo Foundation.

Kolja Burgschuld studied Theatre, Film and Media at the University of Vienna. From 2011 to 2013 he was Managing Director of the umbrella organization for the performing arts for young audiences in Austria and curated the ASSITEJ International Meeting in Linz in 2013. He ran the STELLA Festival in St. Pölten, Bregenz and Graz and was a member of the leading team at DSCHUNGEL in Vienna. Since 2016 he has sat on the City of Vienna’s Board of Trustees for Theatre, Dance and Performance and in 2018 he runs the Impulse Academy together with Sandra Umathum.

Katalin Erdődi has worked as a curator, dramaturg and researcher in the field of contemporary art and performance since 2004. Her career as a curator has included prestigious institutions such as Trafó Budapest, the Ludwig Museum Budapest and the Gallery for Contemporary Art in Leipzig. Recently she has worked as Artistic Director of the imagetanz festival and as a curator for brut, Vienna. From 2018 she is curator of steirischer herbst in Graz. She has worked as a dramaturgical consultant with the artists Gin Müller, Oleg Soulimenko, Sööt/Zeyringer and Doris Uhlich. As a doctoral student of the PhD in Curating programme at Zhdk Zürich and the University of Reading she is currently researching curatorial strategies in post-socialist territories.

Corsin Gaudenz studied Acting and Art History before completing the Master’s programme in Solo/Dance/Authorship at HZT Berlin. He works as a director, choreographer and dramaturg in the fields of performance, dance and music theatre – with a preference for processes with open and unconventional narrative structures. He most recently realised the opera ‘Tell’ (2015); ‘Dingdonggrüezi’, a HausBauSchau (2014); the exhibition ‘abstract animals’ (2014) and the circus piece ‘Time Is On My Side’ (2013). In 2013 he wrote the libretto for the opera project ‘l’homme qui rit’ by the Gruppe Freie Oper Zürich.  

Kieron Jina was born in Durban, South Africa. He uses performances, choreography, photography and video art to tell personal stories that explore themes of social relevance. In 2016 together with Marc Philipp Gabriel he created the dance performance ‘Shave that Gummi’ that was shown as part of Foreign Affairs-Festivals at the Berliner Festspiele in ‘The Brother Moves On’. In 2017 he created the performance ‘Down To Earth’ in collaboration with Marc Philipp Gabriel for Tanzfabrik Berlin. Keiron Jina is co-founder and curator of Queer Art Night South Africa.  

Stefan Kaegi works in a variety of configurations to direct documentary theatre plays, audio dramas, forms of performance and productions in urban spaces. Kaegi works together with Helgard Haug and Daniel Wetzel under the label Rimini Protokoll, that was awarded the Silver Lion for theatre at the Venice Biennale in 2011. Rimini Protokoll recently produced the tetralogy ‘State 1-4’ examining the phenomenon of post-democracy and the small portable format ‘Home Visit Europe’. Rimini Protokoll’s most recent work in the Ruhr region was to curate a mobile auditorium entitled ‘Truck Tracks Ruhr’.       

Johanna-Yasirra Kluhs is a freelance dramaturg working on programming and productions. After studying German Literature and Philosophy she was co-Artistic Director of the festival FAVORITEN 2014 with Felizitas Stilleke. She also conceived and directed the FUX festival for Wuppertaler Bühnen with Anne Hirth. In 2014/15 she was a member of the selection panel for ‘Westwind’, the NRW Theatertreffen for children and young people. She has worked as a dramaturg to programme the Theater in Pumpenhaus Münster and Theater am Südpol in Lucerne. She is currently co-director of the programme Interkultur Ruhr and is a member of the selection panel for the festival Politik im Freien Theater, while also working as a production dramaturg with a several directors and choreographers.

Melanie Mohren and Bernhard Herbordt are graduates in Applied Theatre Studies from JLU Gießen and have developed interdisciplinary work together on the boundaries of the performing arts since 2000: their spatial and sonic installations, audio dramas, performances, (music) theatre pieces, exhibition and publication projects are based on comprehensive research, presented internationally and have won numerous awards. In 2012 Herbordt/Mohren founded ‘The Institution’. As an artistic facility with multiple branches, online archive, label and a body of work, ‘The Institution’ promotes an expanded notion of theatre, working in a range of forms and media to critique and contemporize institutions. 

Die Rabtaldirndln are Barbara Carli, Rosi Degen, Bea Dermond, Gudrun Maier and Gerda Saiko. The five strong theatre collective from Graz have been creating performances and theatre productions for 15 years, dealing with issues such as rural depopulation, dying villages and the widening ideological divergence between the city and the countryside. 

Jens-Erwin Siemssen studied Puppetry at the Academy of Music and Performing Arts in Stuttgart and Object Theatre at the Academy of Arts Amsterdam. In 1991 he founded and became Artistic Director of the company Das Letzte Kleinod. Siemssen developed the idea of a theatre on rails: the company perform international theatre projects on board the Ocean Blue Train. Das Letzte Kleinod has won numerous awards including the Federal Theatre Prize in 2016.   

15.06. REGIONAL LOCATION – NATIONAL VISIBILITY — Cultural Policy

If cities and states understand their cultural identities as distinctive local features of economic significance, where does cultural policy position the independent performing arts? Under local provision of culture or as international marketing for the region – or both at the same time? What direct – and often paradoxical – influence do these different agendas have on production conditions? And what understanding of art and of the independent theatre scene is such action based on? In cooperation with the NRW regional office for the independent performing arts and the National Association of the Independent Performing Arts.

10:00 Excursion to SC Fortuna Köln — DENN FORTUNA, DAT SIN MIR ALL HEE (BECAUSE WE'RE ALL FORTUNA HERE)​

10:00 Meeting point: SC Fortuna Köln, Südstadion, Am Vorgebirgstor 2, 50969 Köln
(Travel to U-Bahn station “Pohligstraße” in Cologne-Zollstock or bus stop “Am Vorgebirgstor” in Cologne-Zollstock)
Guide and discussion: Stephan Gohlke, Communications Director of SC Fortuna Köln
Soundtrack: Otmar Wagner 

Performing on the national or international stage represents success and growth in the people’s sport of football. At the same time local identities frequently continue to play a formative role in the stories of these clubs.  “Theatre need to be like football,” claimed Dietmar Roberg in 1982. In his soundtrack performer Otmar Wagner thinks about different readings of this statement in the triangle football-art-cultural policy. Afterwards the participants will explore the chequered history of SC Fortuna Köln and the Südstadion together with Stephan Gohlke. How can a balance be reached between local identity and national success – in football and in independent theatre?
(Followed by a shuttle bus to studiobühneköln)

12:00—17:30 Presentations, table talks and discussions, studiobühneköln

12:00 Lunch
13:00 FREE FALL? — ON THE RELATIONSHIP BETWEEN URBAN AND THEATRICAL DEVELOPMENT: Keynote by Hilke Berger (HafenCity University Hamburg)
13:20 Onbetaalbaar — THE MEANING OF BEING EMBEDDED LOCALLY: Keynote von Kristof Blom (CAMPO) 
13:45 Break 
14:00 PERSPECTIVES ON CULTURAL POLICY: Introduction
Panel discussion with Christian Esch (NRW KULTURsekretariat), Jörg Fürst (Freihandelszone — ensemblenetzwerk köln), Geheimagentur, Valeska Klug (University Duisburg-Essen), Frauke Schnell (City of Münster), chaired by Harald Redmer (NRW regional office for independent performing arts & Kolja Burgschuld
14:30 PERSPECTIVES ON CULTURAL POLICY: Dialogues Table talks with experts
Christian Esch: Making an impact through cultural policy networks
Jörg Fürst: Local networking strategies in the independent theatre scene
Geheimagentur: Being embedded locally for (inter-)national work.
Valeska Klug: Concepts of the independent performing arts within cultural policy
Frauke Schnell: The significance of independent performing arts for urban development 15:45 Break
16:00 REGIONAL LOCATION — NATIONAL VISIBILITY: Panel discussion with the experts, chaired by: Thomas Kaestle
17:00 Summing up: Thomas Kaestle
17:30 Shuttle bus to Ringlokschuppen Ruhr (00:30 Shuttle bus to Cologne)

Biographies

Hilke Berger is a research associate at HafenCity University Hamburg. As a researcher of the urban environment she is concerned with topics including practices of participation, collective town planning and public space. She has developed, co-ordinated and worked on numerous artistic and academic projects for festivals, theatres and universities in Berlin, Leipzig and Hamburg. Hilke Berger has lectured and published internationally. Her most recent publications are: ‘Handlung statt Verhandlung. Kunst als gemeinsame Stadtgestaltung (Action instead of Negotiation. Art as collective urban planning) and ‘New Stakeholders of Urban Change. A Question of Culture and Attitude?’ (Edited with Gesa Ziemer).  

Kristof Blom studied Performing Arts at Ghent University. Until 2001 he worked as a dramaturg for a range of artists and companies such as Toneelhuis Antwerpen, Victoria and Het Paleis. From 2001 to 2007 he was responsible for international networks and production at Viktoria. In 2008 he joined the team at the Ghent production house CAMPO, which combines presentation, production and artistic research into the performing arts. He has been CAMPO’s Artistic Director since 2011.   

Kolja Burgschuld studied Theatre, Film and Media at the University of Vienna. From 2011 to 2013 he was Managing Director of the umbrella organization for the performing arts for young audiences in Austria and curated the ASSITEJ International Meeting in Linz in 2013. He ran the STELLA Festival in St. Pölten, Bregenz and Graz and was a member of the leading team at DSCHUNGEL in Vienna. Since 2016 he has sat on the City of Vienna’s Board of Trustees for Theatre, Dance and Performance and in 2018 he runs the Impulse Academy together with Sandra Umathum. 

Christian Esch is the Director of the NRW KULTURsekretariat. He studied Musicology, German Literature and Philosophy and wrote his doctorate on opera. For many years he contributed reviews and essays to newspapers, radio and professional journals. Christian Esch has worked as a dramaturg for both music theatre and spoken theatre in Frankfurt am Main, Innsbruck and Munich, and as a producer and correspondent for Hessische Rundfunk. As well as university teaching and numerous (book) publications on art and culture he is a member of the Goethe Institut’s music panel and is an advisor to the city of Duisburg on planning and cultural development.

Jörg Fürst is co-founder, Artistic Director and director of the Cologne-based theatre company A.TONAL.THEATER. He has also directed productions at the Theater an der Ruhr, Schauspiel Bonn and the Haus der Ruhrfestspiele in Recklinghausen. He is one of the founders of the theatre label  Freihandelszone – Ensemblenetzwerk Köln (Free Trade Zone – Cologne Ensemble Network) and part of the Artistic Directorate of the international dance and theatre festivals GLOBALIZE:COLOGNE and URBÄNG!. For the Theater an der Ruhr he has run the citizens’ theatre project VolXbühne since 2013. He was awarded the Cologne Theatre Prize in 2005 and 2011 and won the Main Prize at the 11th THEATERZWANG Festival in 2004 (now called FAVORITEN).     

Geheimagentur produces facilities and situations that appear to be fictions yet pass the test of reality. Its performances allow another reality to be created in microcosm, open escape routes from the economies of scarcity and carry on research with the aid of the drive towards improbability. Geheimagentur means “secret agency” and its work is anonymous. It is a free label, an open collective and a practical attempt at the “art of being many“.   

Thomas Kaestle is a cultural researcher who approaches artistic phenomena from an interdisciplinary perspective. He has initiated numerous discussions about art in public spaces, notably in his role as Artistic Director of the Kunstverein Hildesheim. He is a member of the Hanover Commission of Experts on Art in Urban Spaces.  Thomas Kaestle has taught in Dortmund, Hildesheim and Kassel and is the author of academic, essay and journalistic texts on culture, the city and cultural policy. He recently compiled the yearbook of the Federal Association of Independent Performing Arts. 

Valeska Klug has been a doctoral candidate at Duisburg-Essen University since 2016 on the discursification of artists’ subjectivities since the establishment of funding structures for the independent performing arts. From 2007 to 2010 she completed a B.A. in Theatre and Media Studies, followed by M.A.s in Theatre Studies and European Culture and Economy in Bochum and Dunkerque (France). In parallel to her academic career she also works as a production manager for the theatre festival FAVORITEN and others, as well as producing her own artistic projects as part of the scheinzeitmenschen. 

Harald Redmer has been Chief Executive of the NRW Regional Office of Independent Performing Arts in Dortmund since 2013 and Managing Director of the oldest independent German-speaking festival, FAVORITEN. On a wider stage he represents local interests as a board member of the National Association of Independent Performing Arts in Berlin, the NRW Cultural Council and the Regional Association Ruhr. On behalf of the Regional Office he is responsible for a range of funding programmes for independent theatre professionals, notably funding formats aimed at intercultural activities since 2016, and initiated a new system of qualifications for the independent performance scene in 2017.

Frauke Schnell studied Psychology, German Literature and Communications Sciences at WWU Münster. Since 2008 she has run the City of Münster’s Cultural Department. Here her focus lies on promoting and strengthening the diverse independent scene and networking – internally, with cultural institutions in the community and other stakeholders active in interdisciplinary fields.  She previously worked for a cultural and project consultancy in the private sector, project managing competitions and projects at the intersection between culture, urban development and marketing the city. 

Otmar Wagner lives and works in Vienna as a freelance performance artist and utopian researcher. In recent years he has principally created performance essays and multimedia concert performances. Otmar Wagner is currently working on the WUNDE WELT cycle. He has presented his work at venues including zeitraumexit Mannheim, FFT Düsseldorf, Mousonturm Frankfurt am Main and Festspielhaus Hellerau in Dresden. Otmar Wagner has collaborated with norton.commander.productions, geheimagentur, toxic dreams and others. For steirischer herbst 2016 he collaborated with the documentary theatre directing duo Kroesinger/Dura.

16.06. I AM NOT A BUSINESSMAN, I AM AN ARTIST (Warren Buffett) — Economics

Can the independent theatre remain a resistant artistic practice under the commercial pressure to be internationally competitive? How can the market economy of the independent theatre, its artists, buildings and festivals be described? Does its internationalization contribute to cultural diversity or does it advance a standardization of theatre aesthetics? And what local or international audience is it aimed at?

10:00 IDEAS BECOME MARKETS — Excursion to Cologne Harbour

10:00 Meeting point: CTS Containerterminal, Stapelkai 11, 50735 Köln
(Travel via tram stop “Amsterdamer Straße/Gürtel” in Cologne-Riehl or bus stop “Betriebshof Nord” in Cologne-Riehl)
Guide and discussion: Oliver Haas, representative of CTS
Soundtrack: sputnic

In Germany’s second largest inland harbour the world of trade is manifest: the container is the medium of globalization. “Art is not able to interrupt the economy without interrupting art as an economic activity,” says sociologist and curator Kuba Szreder. “Ideas become markets,” says Deutsche Bank. What do the harbour and containers tell us about standardized forms of the transfer of goods, local production and international distribution? The participants explore the Cologne harbour together with CTS representative Oliver Haas. In addition the artists’ collective sputnic reflects on the links between artistic and economic logic in the form of an acoustic collage.
(Followed by shuttle bus to studiobühneköln)

12:00—16:30 Workshops and discussion, studiobühneköln

12:00 Lunch
13:00 POLITICIZING INTER/NATIONAL PRODUCTION: Workshop with Bojana Kunst (Justus-Liebig-University Gießen)
13:00 WORLD CITIZENSHIP AND RESISTANCE: Workshop with Lukas Franke
14:45 Break
15:15 THINK LOCAL, SELL GLOBAL? Independent theatre and economics
Panel discussion with Kristof Blom (CAMPO), Dirk Cieslak (VIERTE WELT), Anja Dirks (Belluard Bollwerk International), Kathrin Tiedemann (FFT Düsseldorf & Association of international production houses), chaired by: Jan Deck
16:15 Summing up: Jan Deck
16:30 Shuttle bus to Ringlokschuppen Ruhr (00:30 Shuttle bus to Cologne)

Biographies

Kristof Blom studied Performing Arts at Ghent University. Until 2001 he worked as a dramaturg for a range of artists and companies such as Toneelhuis Antwerpen, Victoria and Het Paleis. From 2001 to 2007 he was responsible for international networks and production at Viktoria. In 2008 he joined the team at the Ghent production house CAMPO, which combines presentation, production and artistic research into the performing arts. He has been CAMPO’s Artistic Director since 2011.

Dirk Cieslak is the founder of the theatre formation Lubricat. Before that he worked as a craftsman for 15 years, completed a degree in Social Sciences in Bremen and London and completed a period of research in West Africa. From 1990 to 1992 he worked with Lubricat at the International Culture Factory Kampnagel in Hamburg. In 1993 he moved to Berlin where in 1996 together with Sasha Waltz and Jo Fabian/Department he founded the Sophiensaele, where Cieslak continued to work with Lubricat until 2007. Since 2008 he has worked together and has been a visiting director at venues including Theaterhaus Jena, Schauspiel Leipzig and Theater Magdeburg. In 2010 he founded VIERTE WELT in Berlin under the heading: “for a theatre after the project

Jan Deck is a political scientist, lives in Frankfurt/Main and works as a freelance dramaturg, director and curator. With Katja Kämmerer he investigates historical and political locations under the name profikollektion. As dramaturg and co-author with the post-migrant ensemble theaterperipherie he has predominantly developed research projects with non-professionals. He works for the Hessian regional association laPROF, has served on juries and panels, curates conferences, festivals and laboratories. As an editor and author he is occupied with aspects of art and society, including in ‘Paradoxien des Zuschauens’ (Paradoxes of Being an Audience) and ‘Politisch Theater machen’ (Making Political Theatre) - both edited with Angelika Sieburg - and ‘Stop teaching!’ (edited with Patrick Primavesi). 

Anja Dirks studied Directing at the Ernst Busch School of Drama. She was Assistant to Matthias Lilienthal for the festival Theater der Welt 2002, also working on the programme as a dramaturg, then joined the FFT Düsseldorf and from 2004 to 2007 was a member of the leading team at the Theaterhaus Gessnerallee in Zurich. For the Wiener Festwochen she curated the forum festwochen in 2008. From 2009 to 2014 she was Artistic Director of the festival Theaterformen in Braunschweig and Hanover. Since 2015 she has run the Belluard Festival in Fribourg.

Lukas Franke studied in Great Britain and works as a freelance writer, dramaturg and PR-consultant for both culture and politics. As the curator for issues and discussions he is also a member of the leading team at WERK X, Vienna. He has conceived campaigns for Amnesty International and for the DGB trade union movement and will soon publish a book concerned with the crisis of the west as an opportunity for the emergence of a global society.   

Bojana Kunst studied Philosophy and Comparative Literature at the Philosophy Faculty of the University of Ljubljana. The philosopher, dance and performance theoretician and dramaturg teaches at the Justus Liebig University in Giessen. She has been a visiting professor at various European universities and works consistently with artists, independent cultural organizations and festivals in sector of contemporary performance art. She is a member of the editorial boards of the magazines Maska and Performance Research and the author of numerous publications including ‘Artist at work: Proximity of Arts and Capitalism’.

sputnic are the three media artists and designers Malte Jehmlich, Nicolai Skopalik and Nils Voges. They have carried out interdisciplinary work since 2004 in the fields of animation, design and the stage. They develop media scenographies for theatre plays, produce films and create installations exploring the boundaries between analogue and digital realities. In doing so they investigate social, cultural and commercial processes and how these are presented in the media.

Kathrin Tiedemann studied Theatre Studies and German Literature. She was a dramaturg at Kampnagel in Hamburg, co-founder and curator of the festival reich & berühmt in Berlin and worked as a correspondent and writer for the weekly newspaper Freitag and the magazine Theater der Zeit. She has been Artistic Director and Chief Executive of the Forum Freies Theater (FFT) in Düsseldorf since 2004, a partner and venue for the Impulse Festival and co-initiator of the Alliance of International Producing Houses.

17.06. DEPOSITORY OF CONTRADICTIONS —Concluding brunch

How can these differing perspectives be joined up into a kaleidoscope of independent theatre creation between local references and international production conditions? In the congenial surroundings of the studiobühne’s garden representatives of theory, practice and cultural policy gather the Academy’s experiences and findings over a communal brunch through concluding statements, video documentaries and a group discussion into a depository of contradictions – continuing to search the precarious territory of the independent scene.

Programme

11:00 TOPOGRAPHY OF INDEPENDENT THEATRE: Video documentation and summing up from the last three days by and with Jan Deck, Lukas Franke, Thomas Kaestle, Valeska Klug, Johanna Kluhs, Antje Schupp
13:30 Break
14:00 Shuttle bus to Düsseldorf for the Impulse Theater Festival’s city project WHEN BUILDINGS MOURN at FFT Juta
16:00 Shuttle bus to Ringlokschuppen Ruhr

Biographies

Jan Deck is a political scientist, lives in Frankfurt/Main and works as a freelance dramaturg, director and curator. With Katja Kämmerer he investigates historical and political locations under the name profikollektion. As dramaturg and co-author with the post-migrant ensemble theaterperipherie he has predominantly developed research projects with non-professionals. He works for the Hessian regional association laPROF, has served on juries and panels, curates conferences, festivals and laboratories. As an editor and author he is occupied with aspects of art and society, including in ‘Paradoxien des Zuschauens’ (Paradoxes of Being an Audience) and ‘Politisch Theater machen’ (Making Political Theatre) - both edited with Angelika Sieburg - and ‘Stop teaching!’ (edited with Patrick Primavesi). 

Lukas Franke studied in Great Britain and works as a freelance writer, dramaturg and PR-consultant for both culture and politics. As the curator for issues and discussions he is also a member of the leading team at WERK X, Vienna. He has conceived campaigns for Amnesty International and for the DGB trade union movement and will soon publish a book concerned with the crisis of the west as an opportunity for the emergence of a global society.

Thomas Kaestle is a cultural researcher who approaches artistic phenomena from an interdisciplinary perspective. He has initiated numerous discussions about art in public spaces, notably in his role as Artistic Director of the Kunstverein Hildesheim. He is a member of the Hanover Commission of Experts on Art in Urban Spaces.  Thomas Kaestle has taught in Dortmund, Hildesheim and Kassel and is the author of academic, essay and journalistic texts on culture, the city and cultural policy. He recently compiled the yearbook of the Federal Association of Independent Performing Arts. 

Valeska Klug has been a doctoral candidate at Duisburg-Essen University since 2016 on the discursification of artists’ subjectivities since the establishment of funding structures for the independent performing arts. From 2007 to 2010 she completed a B.A. in Theatre and Media Studies, followed by M.A.s in Theatre Studies and European Culture and Economy in Bochum and Dunkerque (France). In parallel to her academic career she also works as a production manager for the theatre festival FAVORITEN and others, as well as producing her own artistic projects as part of the scheinzeitmenschen. 

Johanna-Yasirra Kluhs is a freelance dramaturg working on programming and productions. After studying German Literature and Philosophy she was co-Artistic Director of the festival FAVORITEN 2014 with Felizitas Stilleke. She also conceived and directed the FUX festival for Wuppertaler Bühnen with Anne Hirth. In 2014/15 she was a member of the selection panel for ‘Westwind’, the NRW Theatertreffen for children and young people. She has worked as a dramaturg to programme the Theater in Pumpenhaus Münster and Theater am Südpol in Lucerne. She is currently co-director of the programme Interkultur Ruhr and is a member of the selection panel for the festival Politik im Freien Theater, while also working as a production dramaturg with a several directors and choreographers.

Antje Schupp studied Theatre, Film, Media and Cultural Studies in Vienna and Directing for Theatre and Opera at the Bavaraian Theatre Academy in Munich. She directs spoken theatre, music theatre and develops her own performances and projects concerned with the relationship between individuals and their socio-political environment. In collaboration with Beatrice Fleischlin she created ‘there’s something about love’, ‘LOVE.STATE.KOSOVO’ and ‘Islam for Christians – A Crash Course (Level A1)’; ‘trust us: don’t trust us’ with Ariane Andereggen, and in 2014 the solo ‘REIN GOLD’. In March 2018 her production of Antonio Vivaldi’s baroque opera ‘Motezuma’ premiered at Theater Ulm.