Tanzfabrik
Berlin
Stage
Stage
Stage
Stage
Uferstudios 5
Badstr. 41A, Uferstr. 23
13357 Berlin
Stage
Stage
Photo: Peter Oliver Wolff

Orfeo

Performance · Premiere by Sasha Amaya

Tickets
«Orfeo» is Sasha Amaya‘s choreo-operatic work exploring listening, sounding, proximity, power, and loss. Amaya moves from Monteverdi’s 1607 opera based on the ancient Greek myth to contemporary interpretations of its central themes. Using the interface between music and movement, and a re-casting of feminine-read bodies for all roles, Amaya explores what happens if we turn our attention from Orfeo to Euridice in this fabled tale. Balancing choreographic tools, musical fantasias and the relationality of bodies, the work juxtaposes tension and flow, restriction and agency, script and sensation.


Accessibility 
The event will be held in Studio 5 in English and Italian. 
Studio 5 is accessible without steps but has a raised wooden floor which can be reached via a 1.5% inclined ramp. Wheelchair spaces are available. The barrier-free toilet is located in the foyer of the studio.
Limited reimbursement for travelling with a wheelchair is available as well as limited pick-up services. If required, please register promptly at access@tanzfabrik-berlin.de.
Pre-boarding (early seating) and a limited number of beanbags are available for people with mobility impairments. Both can be reserved at ticket@tanzfabrik-berlin.de.

Content notes
There will be depictions of violence in places. It is a sound-intensive play with very loud singing in places. 
Further information on accessibility can be found on our website: https://www.tanzfabrik-berlin.de/de/barrierefreiheit# 
For further questions about accessibility at this event, please contact access@tanzfabrik-berlin.de.  

Sasha Amaya

Sasha Amaya is a dancer, choreographer, and installation artist. Amaya’s works are occupied with form, movement, dance, visual art, collage, text, and architectural surrounds as means to revist the so-called canon of art history. In doing so, Amaya utilizes, rejects, reframes, and repurposes historical narratives and techniques in contemporary art work as part of a broader illumination and reconfiguration of the relationship between politics, aesthetics, and the possible. Shown in both visual art and choreographic contexts, Amaya's works are known for their combination of play and precision, biting revisions of the art historical, and the body as a radical agent of form. www.sasha-amaya.com
Duration: approx. 60 minutes
Pay what you can (10€/15€/20€/25€) 
Tickets
Concept, Choreography, Direction, Musical Dramaturgy, : Sasha Amaya 
Performance: Sasha Amaya,  TingAn Ying, Peyee Chen, Derya Atakan, Boram Ahn
Costume: Isabelle Edi, Sasha Amaya, Dila Kaplan
Light: Catalina Fernández
Outside eye: Dandan Liu
Production management: Tiphaine Carrère, Maria Kousi, Areli Moran. 

A production from Sasha Amaya. Supported by IMPACT Förderung of the Berlin Senate Department for Culture and Social Cohesion, and by the Canada Council for the Arts. Co-produced by Tanzfabrik Berlin. Supported by ROXY Birsfelden. 

Initial research supported by the Canada Council for the Arts, Lake Studios Berlin, and the Fonds Dezentrale Kulturarbeit from the Berlin Senate Department for Culture and Social Cohesion.


↪ FURTHER BIOGRAFIES

Born in the Bavarian haze of the nineties, Derya Atakan studies opera singing in Berlin and Paris and emerges as an operatic performer uniting the forces of opera, punk, and the sounds of the Levant. Original compositions and opera references in her work serve as an invitation to collective metamorphosis.. Pathos meets irritation, slapstick meets seriousness, and dream meets reality. @derya.aaatkn

TingAn Ying 鄞廷安 is a Han-Taiwanese artist and cultural practitioner based in Berlin. Trained in dance, TingAn’s works are grounded in body-, time-, and experience-based materials, spanning performance, dramaturgy, philosophy, politics, communication, and facilitation. TingAn’s work emphasises plurality, socio-political engagement, and is rooted in anti-colonial discourses. TingAn has collaborated primarily as an original cast member with Anouk van Dijk, Emanuel Gat, and Edan Gorlicki, amongst others. https://yingtingan.cargo.site/

Boram Ahn is a collaborative pianist based in Berlin. Born and raised in South Korea, and studying composition, piano performance, and collaborative piano at McGill University in Canada, Boram now moves between performing, her private studio, and her work as a repetiteur at festivals and theatres across Europe. https://boramahn.de/

An omnivore when it comes to performing, soprano Peyee Chen enjoys singing Monteverdi with lute and bass viol as much as singing Bernhard Lang with electronics and electric bass. She is interest in vocal and contact improvisation, DIY electronic instruments, and installation and performance art. She has appeared as a soloist at the Philharmonie de Paris, Munich Biennale, Cologne Philharmonie, Pierre Boulez Saal, and Konzerthaus Berlin, amongst others. https://peyeechen.com/

Born in Hamburg, Isabelle Edi is a costume designer, artist, and curator circling around Black (diasporic) existences and their echos though costume, sound, and (moving) images. Her practice can be described as an artistically and scientifically expanded concept of costume and sound, focused around themes of representation, nostalgia, and futurisms. Isabelle has collaborated wtih Schauspielhaus Hamburg, Thalia Theater, Kampnagel, Tanzquartier Wien, BRUT, David Uzochukwu, and the film collective Jünglinge, amongst others. In collaboration with friends, Isabelle founded POSSY in 2017, a collective committed to the visibility of FLINTA* in cultural and club spheres. @isocialbutterflyy 

Beijing-born Dandan Liu is a freelance dramaturge, member of the Berlin Ringtheater Kollektiv, and curator at Freie Werkstatt Theater Cologne. Her work is characterised by her transcultural perspectives, analytical and critical thinking and focuses on the areas of performance, political theatre, and dance theatre. She uses biographical, non-fictional, and digital primary source material, which she examines through theoretical discourses in order to discover new possibilities for historiography. @dana_peterpan