Tasting Water

Water on the skin can be an intense body experience. When body and water meet, an immediate reaction results, depending on the state of the water: warm, cold, icy, liquid, solid, rushing, flowing. The installative performance tasting water by dancer Manasvini K. Eberl delicately stimulates the senses of the audience and takes them into different states of water. Through a dialogue of dance and video, an illusion of water is created that allows time for immersion and invites the audience to experience the element of water in a sensual and playful way.

Now Or Never


The future lies before me. All doors are open. But what does freedom mean anyway? Does it really exist? And what do I do with it? What about inner freedom? If I follow it, what does it change on the outside?

The YOUNG PATHOS KOLLEKTIV shows its new production Open Air in the courtyard of the PATHOS Theater.

in-through-around | PLAYGROUND

In September 2019 Anna Konjetzky opened her own studio – PLAYGROUND – in the LABOR ATELIERS on the grounds of the creative quarter in Munich. For Anna Konjetzky and her team, PLAYGROUND is a laboratory and sketchbook, a homestead, an archive, a dialogue space. Through the obligatory pause of the pandemic, it has become even more urgent to connect, so the PLAYGROUND-team (with the main players Anna Konjetzky, Sahra Huby, Susanne Schneider, Quindell Orton and Rat&Tat Kulturbüro), proposes a range of different formats and settings mixing theoretical and practical approaches for practice and knowledge sharing and artistic research with other artists, as well as with all kinds of citizens. A combination of regularly and irregularly occurring settings, the PLAYGROUND opens is doors with its own program, but also hosts rehearsals and meetings of Anna Konjetzky & Co and other Munich based artists and initiatives.

Training for Everybody

Monthly / Independent of age, dancing experience or physical condition / It is not just a physical training, but a training for imagination, for critical thinking, collective experiences, breaking the norms, creating dreams and visions.


every second month / Discussions, talks, lectures, concerts, exhibitions, film evenings, readings etc. / The Gatherings center around the topics of care, alliances, queerness and connection as a continuation and link to the NOMADIC ACADEMY / Until now Claire Lefvre with her Radical Softness, Martin Schick with radikant artistic working, and Bim n from the queerfeminist Dj collective WUT, were invited for a Gathering / The discussions round For the Experts, during the first year of lockdown, around the question of the role of art, happen in this frame. Three discussion rounds were held with artists, with politicians, and with “citizens”.

Practice Sharing

Is an umbrella for professional dance makers to exchange practices and enter into a dialogue with each other. Either through a One-on-One/Blind Date format. Or through the invitation of an artist to share they’re practice (such as Caroline Jüngst, Daphna Horenczyk, Claire Lefvre and others).

Practice sharing: Anne-Mareike Hess (choreographer, performer within the field of contemporary dance)

With this sharing I would like to give you a physical introduction into my artistic work and my approach to working with the body. 

Some words about my work:

My main focus lies on the body and its inherent potential for transformation; Its status and exposure in society, as well as its presentation, representation and perception on-stage. My work is characterized by precise movement language, embodying and materializing identity questions and themes relevant to our times and sharing them with an audience.

Throughout the years, I have developed a movement practice, which I call “the emotional body”, where I use a combination of imagination and sensory work to put the whole body – including the face – into heightened physical and emotional states in order to create permeable bodies in which every emotion, every mood and atmosphere becomes visible. Works like “Tanzwut” (2014), “Synchronization in process” (2016) and “Give me a reason to feel” (2017) are based on this practice. Since 2018 I have been focusing my artistic work around the (de)construction of gender stereotypes and the body as a projection surface for patriarchal desires and ideas, which so far has led to the solos “Warrior” (2018) and “Dreamer” (2021) and the upcoming trio “Weaver” (2023).

The session will mostly be structured like one long physical journey, devoted to warming up the whole body, finding skeletal support and particularly focusing on opening the senses and becoming sensible for all the information that is constantly flooding into our bodies through our senses. Inspired by somatic practices, anatomy and presence work, we are using improvisation and imagination to put the whole body – including the face – in motion.


Anne-Mareike Hess is based in Luxembourg and Berlin and works as a choreographer and performer in the field of contemporary dance. In 2018 she founded the independent structure utopic productions, which receives funding from the Ministry of Culture in Luxembourg since 2020. 

Since the beginning of her career as a choreographer, Anne-Mareike’s works have been shown at numerous venues and festivals throughout Europe and Canada. This includes a.o.: I believe that we are having a dialogue (2012), Tanzwut (2014) and Synchronization in process (2016). In 2017 Anne-Mareike was commissioned by the Théâtre d’Esch and the Grand Théâtre de la Ville de Luxembourg to create Give me a reason to feel.

Her first evening-long solo Warrior premiered at the end of 2018 and has been selected by AEROWAVES Twenty20.  In March 2021 she premiered the one-on-one telephone project Through the wire and in December 2021 the new solo Dreamer.

Anne-Mareike works in close collaboration with TROIS C-L in Luxembourg, Dock11 in Berlin and Skogen in Gothenburg; and since 2016 she is an associate artist at Weld in Stockholm. Between 2017-2019 Anne-Mareike was supported by the Grand Luxe network; and since 2020 she is an associate artist at Neimënster in Luxembourg. 

Previously, she was awarded with the emerging artists prize “Stiftung zur Förderung junger Talente” (2012) and the “Danzpraïs” (2015) from the Ministry of Culture in Luxembourg.

Since 2007 Anne-Mareike has worked as a performer with choreographers such as William Forsythe (Human Writes), Eeva Muilu, Rosalind Goldberg (MIT & Jump with me), Ingri Fiksdal (Cosmic body), Heinrich Horwitz (Nijinsky) and Antje Velsinger (PERFORM!), with which she has performed in a number of prestigious venues around the world.

Alongside her work as a choreographer and dancer, she is working as an artistic advisor, coach and teacher. In autumn 2019 Anne-Mareike has been invited to teach as a guest at the Korean National University of Arts School of Dance (Choreography). 

Anne-Mareike received her education at the Conservatory and at TROIS C-L in Luxembourg, she continued her studies at the HfMDK in Frankfurt/Main and at HZT Inter-University Center for Dance in Berlin (Master in Choreography).

More information on: www.annemareikehess.com


Session #1: Filming Dance — 11th February 2022

Is the live experience with dance irreplaceable? Is dance on screen its own artform? Can we dance digitally? How are dance artists reaching audiences during lockdowns?
Restrictions of lockdown are challenging and require new solutions. What did the almost two years of pandemic teach us about filming dance?
Munich-based; Ceren Oran (Choreographer), Jasmine Ellis (Film Director/ Choreographer), Harun Isik (Film Director) and Benedict Mirow (Film Director) share their ideas, inspiration, and experiences in working with dance on screen.
Premiering works produced during the pandemic times; the short film series of the performance „Schön Anders“ by Ceren Oran in collaboration with Harun Isik and 3 shorts by Jasmine Ellis. Discussions will be moderated by Anna Donderer.
The event is part of a three-day artistic gathering organized by Ceren Oran in Munich, supported by the TANZPAKT RECONNECT program.

Session #2: Composing for Theatre and Dance — 2nd May 2022

Often, we take for granted that dance is accompanied by music. But what role does music play in contemporary dance and theatre? What is it like to compose sounds and tunes for something that doesn’t exist yet? Does music make dance and theatre more accessible for the audience?
Which tools and languages do choreographers, directors and musicians use in order to collaborate in a process and create a unique experience for audiences?
After dealing with the topic of “Filming Dance” in Session 1, Ceren Oran & Moving Borders invite you to a second Session in Munich, where Hüseyin Evirgen (musician and composer), Benno Heisel (musician and theatremaker), Nihan Devecioglu (singer and performer), Beni Brachtel (composer, music producer, and DJ) and Ceren Oran (choreographer, dancer and soundpainter) share their experiences about the vivid connection between music, dance and theatre in dialogue with the audience.
The panel will be moderated by Tuncay Acar.

Session #3: Intergenerational Dance — 28th October 2022

What stories can be told through bodies that we usually don’t see on stage? What expectations do we have from young & old as audience, creators, performers? How can we enrich each other through our mixed age groups? How different backgrounds of these human profiles can inspire a collective creative process?

After two inspiring sessions on Filming Dance and Composing for Dance and Theatre, Ceren Oran & Moving Borders invite you to the third and the last Session of 2022 in Munich, where Galit Liss, choreographer (https://en.galitliss.com), Sanja Tropp Frühwald, choreographer and dancer (www.vrum.hr), Jasa Frühwald, performer & Paula Niehoff, dancer and choreographer, share their experiences about creating and working with intergenerational performer profiles as of age 7 to 99; in dialogue with the audience.
The panel will be moderated by Simone Schulte-Aladağ, Tanzbüro München.

We call Wonder

WE CALL WONDER is a performance between reenactment and vaudeville, which sketches a 500-year chronicle of the wonders worked by the Black Madonnas in Germany, Poland, Mexico, and France. The project builds on Christiane Huber‘s performative sound installation WUNDER in summer 2021. In WE CALL WONDER, Christiane Huber widens her field of vision and wants to investigate what significance wondrous deeds can still have today. Are wonders, miracles, simply inexplicable occurrences? Or is belief in miracles simply convenient and an economic factor which fills the coffers today as it did as 500 years ago? Does the belief in miracles lead to a decline in political commitment? In the performance, performative acts are to be derived from religious practices all around pilgrimage sites which can strengthen a community. In the context of the theatre, religious symbolisms are reinterpreted: ritual chants, devotional pictures for swallowing, and rays of grace are analysed in a humorous mix of reenactment, video projections, storytelling, choreography, lecture und sound installation. The performers report about the miracles of the different Black Madonnas and weave documentation, fiction, and magical thinking into a wonderloop.

The 2051 Munich Climate Conference

The 2051 Munich Climate Conference is a gathering of scientists, researchers, and scholars concerned about the challenge of anthropogenic climate change. It is conceptualized and organized by a group of researchers and independent artists around the Büro Grandezza theatre collective. 

The conference uses a fictional setting to look back from an imagined future – the year 2051 – at today’s knowledge and discourses on climate change. 

We are here

Premiere of the Munich re-staging of a production originally created for Saarländisches Staatsballet

We are here is a dance performance about the feeling of imminent danger, the growing pressure, the increasing tension. A play on the audience’s perception in interaction with music, dance, and space: what happens when I observe similar scenes in changed spacial and tonal conditions? With her dance piece – originally created for Saarländisches Staatsballet 2019 – Anna Konjetzky choreographs with an experiment, where the musical information influences the interpretation of the stage setting and the perception of the body; in a setting that the dancers expose through a play on movement and immobility contrary to the consistent reduction of the space. The re-stating of We are here with a Munich cast aims to grant higher visibility and attention to the Munich dance scene and especially young dancers after the time of “invisibility” during the Covid-19 lockdown.

Kopfkino: Literary podcasts through Munich

Kopfkino take you on a literary walk through Munich: a walking tour through head and city of young Munich-based authors, collected and read by actress Henriette Fridoline Schmidt.

Every author, every walk, every text is different: a stream of consciousness, an audiobook, a novel or a chain of associations. Kopfkino isn’t a book, not a theatre, not a performance, and not an audiobook. Kopfkino is a podcast for city-strolling, roaming, discovering. Just turn on your headphones and start walking!


“A stage space bathed in green-bluish light. One body rests its arms on its drawn knees, holding its left wrist with its right hand, head hanging and looking down. A second body lies lasciviously on the right side, looking towards the right rear corner. A third body, on the monitor, bends slightly to the right, one hand on the chest, the other slowly circling the wrist. A fourth body stands in the middle of the room. Synchronously, they open their arms to the sides. A smile slowly appears on their faces. Their mouths widen into large openings. The singing of a choir resounds.”

In ROSE LA ROSE, the choreographer duo Rykena/Jüngst dive into the obscure and at the same time erotic world of show culture and spectacle together with the performers Amelia Cavallo and Tian Rotteveel. They reveal their subversive potentials and pay homage to the in-between, the time before and after revelation, before and after seduction, before and after climax. The multidisciplinary team opens up imaginative spaces in which clichéd notions of erotic bodies are questioned and rewritten.

Through the artistic use of audio description, which translates visual content into language, the seeing and non-seeing performers interweave visual and auditory spaces of perception. In a parallel analogue-digital working process between Amelia Cavallo in London and the other performers in Hamburg, they interrogate the (un)visible through the (un)spoken and deliberately create gaps in perception in which the non-visible is made audible and vice versa. The visual and auditory surfaces combine through the voices and bodies of the performers to form a structure of interwoven narratives and interpretations of hybrid eroticism. Bodies and voices disappear, distort, direct, question, challenge.

In German and English
With audiodescription

Two bodies from above, bathed in bluish-bronze light, on a soft flokati carpet. They are wearing transparent tracksuits, their skin colour is white, they are barefoot. The person on the left rests their arms on their drawn-in knees, holds their left wrist with their right hand. The head falls between the legs. The person next to them lies on their right side. With their bent legs crossed and leaning on their hands, they look to the right in front – beyond the picture. They touch the other with the tips of their feet. One remains, the other seems to leave the place the next moment. Long dark hair, no hair, black mesh on skin.

Video-Premiere in Hamburg February 25., 2021 + as video on demand available until March 07., 2021

Live Shows in Munich July 23. – 25. 2021 | 8 pm Uhr HochX Theater und Live Art | Entenbachstraße 37 | München    

Vermittlungsveranstaltung Online 22. Juni 2021 | 7 to 9 pm   https://theaterbueromuenchen.de/en/2021/06/22/rykena-junst-en/


Choreography, direction, dance: Carolin Jüngst, Lisa Rykena

Dramaturgy: Matthias Quabbe

Co-Choreography, dance: Amelia Lander-Cavallo, Tian Rotteveel

Access Work: Al Lander-Cavallo

Artistic Audiodeskription: Ursina Tossi

Sound: Konstantin Bessonov

Stage: Lea Kissing

Costumes: Hanna Scherwinski

Light: Ricarda Schnoor

Filmconzept und edit: Martin Prinoth

Translation and subtitles: Emma Stenger

Artistic Production, Press: Stückliesel

Production Assistant: Sina Rundel

Photography: Jonas Fischer

Press & PR Munich: Rat&Tat Kulturbüro

On Anger

On Anger is the first part of a trilogy which will be dealing with the different emotional states of our current society.
The interest is to not just recognize the emotion/condition as an individual feeling but also to perceive it as a condition produced by society and within a specific structure.
We want to question the source of anger, analyze how it works its way from the inside out, how it alters the body, how our perception changes, how it becomes distorted and what effect it has on every cell of the body.
On Anger will be  a piece that examines, explores and stages different aspects of anger.
These include physical, anatomical and socio-political perspectives as well as the resulting ‘output’ in the form of ‘furious’ works of art, speeches or political shifts.