by Constanza Macras | DorkyPark
by Constanza Macras | DorkyPark
3h, one break
“Everyone knows about the transformation of Berlin’s centre since the fall of the wall: crumbling old buildings were occupied and filled with new life, the city developed into a point of synergy for creative and party people. This shift towards gentrification, however, also seems to come along with a cultural levelling, in which the taste of a global, well-situated middle class takes top priority. Der Palast grapples with this set of problems by, on the one hand, focusing the work on the architecture, and on the other, revealing both the city’s and its residents’ history, present and ideas for the future. Portraits by the English photographer Tom Hunter will serve as the work’s starting point. He presents social topics in the style of the old masters and is developing a series of photographs in Berlin especially for Der Palast. The international format of reality television functions as a counterpart to the architecture. Not only the prototypical characters of the jurors, but also the sets and the participants, are reproduced continually across reality formats. Various guests have been invited to appear in Der Palast within this framework of a reality show. Robert Lippok and a live band are providing the soundtrack.” Carmen Mehnert / Constanza Macras
Square for artists: Carte Blanche for Constanza Macras
Dance, music, photos – these are the elements of the choreographer Constanza Macras. Born in 1970 in Buenos Aires, she came to Berlin in 1995 after working in New York and Amsterdam. Here she founded her dance company DorkyPark and since then plays on the stages of the capital.
For “Square” the Argentinian wanted to take a look behind the scenes of the Volksbühne. Here she shows choreographies like “Megalopolis” and “The Palace”. Her message: political. Her topics: social. Her show: guaranteed not boring!
The Volksbühne with its GDR past fascinates Constanza Macras. There is still a huge workshop with carpenters, welders, painters and set designers. Constanza Macras introduces them to us …
Premiere date: 1st October at 20.00h
Dates of performance in October: 2nd October, 17th October
Theater: Bitef Theatre
Address: Skver Mire Trailovic 1
Remembering cities that no longer exist explores the art of memory, or ars memoriae, in which memories are particularly strongly associated with physical locations, rooms and architecture. The starting point for this piece was the city as a concrete geographical location, as an anchor for memory. 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?
Remembering cities that no longer exist 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.
In Remembering cities … accounts of visual witnesses of the february 1945 bombings in Dresden intercalate with memories of the performers and their families of similar experiences of the Nato bombing reflecting on the ripples of history and political waves repeating .
The piece also examines the relationships of architecture and memory as a physical experience .