Lucas Bambozzi is a new media artist and researcher who produces installations, single-channel videos and interactive projects. His work has been shown in solo and collective exhibitions in more than 40 countries. He is one of the initiators of the festival (2006-2012), the Multitude exhibition (2014), the Labmovel (2012-2016) and the AVXLab festival (2018-2021). He holds an MPhil in Philosophy of Computing from the University of Plymouth and a PhD in Science from FAUUSP. He teaches visual arts at FAAP in São Paulo.

Peter Florian Berndt is a freelance musician, sound technician, performer, songwriter and cultural organiser. Berndt studied German, Romance languages and literature and music education at the Otto Friedrich University of Bamberg, followed by an in-depth study of the philosophical aesthetics of film and photography. Since 2015, he has been a permanent member and stage musician of the ensemble Ernst von Leben, as well as co-founder of the artistic working group for cultural drive Franz KAfkA e.V. With the band Los Pistoleros Güeros, he tours worldwide as a guitarist.

Jo Beyer is a drummer and composer. He studied jazz percussion at the Osnabrück University of Applied Sciences and Royal Academy of Music Aarhus (Denmark). Beyer works with the possibilities of softly played yet highly energetic music as well as creative and experimental sounds on the drums. His open and innovative playing combined with his very own way of expression has already earned him various international young jazz prizes. In addition to extensive tours and workshops all over the world, Jo Beyer is regularly part of radio and television broadcasts. In addition to his work as a bandleader, he plays in various bands and projects as a sideman and can be heard on over a dozen CD releases.

The singer, performer and composer Chloé Bieri comes from Lausanne and lives in Bern. She is active in the field of contemporary music projects, multidisciplinary shows, pop music and French chanson. In her performances, she uses materials from experimental vocal techniques, electronics, French songs, pop music, but also visual media such as video, light, gestures, are her tools. Crossing the boundaries of musical and aesthetic is her professional passion. She actively works with composers, dancers and performers on multidisciplinary artistic projects in Switzerland and abroad. She regularly works as a performer with composers on projects and composes for ensembles such as We Spoke, but also Vortex as part of Composer’s Next Generation 2021. She has performed at festivals such as La Bâtie Geneva, IGNM Zurich, Jardin Musicaux Cernier, Pakt Bern, Musikfestival Bern, Acht Brücken Köln. Her compositions have been performed at HCMF Huddersfield, SMC Lausanne, KGNM Cologne, Fracanaüm, Festival Archipel, Gare du Nord Basel, among others.

The two composers Chen Chengwen and Tobias Klich have been collaborating on joint projects since 2013. Their scenic composition “4 Hands”, based on Plato’s “Symposium”, was created between 2016 and 2020 in close collaboration with various performers who got involved in the virtuosically challenging and at the same time extremely intimate situation of playing two instruments at a time. The individual four-hand works have already been performed at various festivals in Germany, Spain, Sweden and Switzerland. At the same time as the premiere of the complete version of “4 Hands” in September 2021 at the Sendesaal Bremen, a film version was released on DVD in the Edition Zeitgenössische Musik des Deutschen Musikrats by WERGO. Chen Chengwen works as a freelance composer in the vocal-instrumental and electro-acoustic fields. Born in Taiwan, he has lived and worked in Germany since 2010. He studied composition in Taiwan and 2010-16 in Hanover and Bremen. Tobias Klich is a composer, guitarist, music filmmaker and visual artist. Born in Jena, he studied composition and guitar in Weimar and Bremen, among others with Younghi Pagh-Paan. Since 2018, both have been active with tritonus – Verein zur Förderung der zeitgenössischen Musik e.V. (Association for the Promotion of Contemporary Music).

Collectif Barbare was founded in 2006 by the musician, composer, performer and director Astride Schlaefli. The collective consists of professional musicians, performers and multimedia artists from the cantons of Bern, Zurich, Aargau, Vaud, Lucerne, Basel and Berlin. Collectif Barbare see themselves as a flexible ensemble that carries out projects in the field of new music theatre as well as performance art, interventions and installations. All these projects are performed indoors or in public spaces. At the centre of their work, they say, is music and reflection on human existence. Each project asks questions about the structure and functioning of a society and its people. Collectif Barbare explores the concepts of “common sense”, “civilisation” and “morality” in the light of an analysis that gives priority to poetic and unconventional images. Collectif Barbare holds up a mirror to its audience in which each of us can recognise ourselves.

Léo Collin studied art in Marseille, music in Lyon and music composition in Geneva, Freiburg im Breisgau and Zurich with M. Jarrell, B. Pauset and I. Mundry. His scores have been performed by ensembles such as Intercontemporain, les métaboles, soundinitiative-paris leminiscate-basel, lucillin-luxembourg, avanti-helsinki, batida & eklekto-genève, les voix animées, musicatreize-marseille and öx&öl-zurich. He has composed electronic music for the Schauspielhaus Zürich and the Deutsches Theater Berlin. As a performer (pianist, percussionist and singer) he mainly plays repertoire pieces , which he arranges with the collective International Totem Zurich. For his interpretation of Peter Eötvo’s Opera Atlantis, which premiered at Dampfzentrale-Bern in 2019, he received 1st prize in the Open Space category of the Nicati Competition. With this collective, he conceives and develops extensive interdisciplinary projects in the field of music theatre, for which he writes the music as well as the texts himself and works as a video editor. Léon Collin lives in Zurich.

Italian-born Annalisa Derossi studied piano and dance in parallel in Turin and Paris. In 1991 she came to Berlin to work as a pianist and dancer with the dance theatre Skoronel. Since then she has worked as a freelancer in interdisciplinary stage projects throughout the German-speaking world. She has a long-standing collaboration with the Swiss director and composer Ruedi Häusermann, with whom she has worked at theatres such as the Schauspielhaus Zurich, the Bavarian State Opera and the Burgtheater Vienna. In various capacities such as pianist, dancer, choreographer, actress, artistic or musical director and composer, Annalisa Derossi is active in independent productions, her own projects as well as site-specific performances. She is currently performing in works by Thom Luz and Judith Kuckart and realises her own projects, which primarily explore the connection between movement and music.

Since its foundation in 1988, the focus of the renowned Ensemble KNM Berlin has been on collaboration with composers and artists. The ensemble presents a multifaceted repertoire worldwide, from music theatre to dance performances and concerts involving media and electronics. KNM Berlin has become internationally known not only through its guest performances at major European festivals, but also through its own productions such as “HouseMusik” and concert tours, e.g. to Carnegie Hall (NYC). In addition to exploring space in its musical, architectural and socio-historical implications, since 2016 the ensemble has focused on intercultural musical interaction, whether in Argentina, India, Japan, Cambodia, Korea, Mexico or Taiwan. The ensemble’s discography includes 16 CDs to date. The KNM Berlin has been awarded the German Record Critics’ Prize several times.

The radically inclusive music theatre duo Ensemble Trisolde was founded in 2019 by Maria Buzhor and Julia Lwowski, both born in Odessa and living in Berlin. Their collaborative work creates cross-genre opera performances, often based on classical opera material in a personal and political mirror. Julia Lwowski is a director, Maria Buzhor a dramaturge and author. Both are also performers and part of the Berlin collective Hauen und Stechen. For BAM! they developed a special format: a 40-minute staging course that is performed several times for different small audiences. The pieces deliberately leave spaces in between for the performers’ impulses and interactions with the audience and take place in an intense spatial proximity. The two artists explore the possibilities of an opera of intimacy in pandemic times and develop an immersive one-to-one performance at a distance using different media and genres.

Herbert Fritsch attended the Otto Falckenberg School in Munich before appearing on various major stages in Germany and abroad. From the early 1990s until 2007, Herbert Fritsch was part of the ensemble of the Volksbühne am Rosa-Luxemburg-Platz in Berlin. At the same time, he worked as a media artist and began his work as a film director. Fritsch founded his own film production company, hamlet_X GbR, with which he has created almost 60 short films, one feature film and various commissioned films and installations to date. Since 2007, Fritsch has worked as a freelance director and stage designer at various German-speaking theatres, such as the Münchner Kammerspiele, the Volksbühne am Rosa-Luxemburg-Platz, the Komische Oper in Berlin, the Bremer Theater, the Residenztheater in Munich, the Schauspiel Köln and the Schauspiel- und Opernhaus Zurich. Since 2011 Herbert Fritsch has been invited to the Berlin Theatertreffen with productions six years in a row. In 2012 “Die s(p)anische Fliege” was shown at the Berlin Theatertreffen, in 2013 “Murmel Murmel” and in 2014 “Ohne Titel Nr. 1 – eine Oper von Herbert Fritsch”.

The interdisciplinary ensemble gamut inc around the computer musician and architect Marion Wörle and the composer and guitarist Maciej Sledziecki, is dedicated to electro-acoustic music, innovative music theatre and machine music. Since 2012, the ensemble has been setting thematic priorities with its own productions, staging music theatre on a special terrain and organising concert and festival formats. In “cyber-psychedelic séances” (DLF Kultur), the retro-futuristic ensemble creates “a digital music theatre as a sum of radio play, music, visual art, video and theatre” (SZ). The thematic focus of the works is on a critical approach to technologies. gamut inc collaborates with various artists on a project-by-project basis. PYTHO Carousel was developed in collaboration with the light artist Michael Vorfeld, from whose collection about 1000 slides are used. The control of the projectors was developed with Anton Krause.

Leandro Gianini, born in Lugano, studied classical percussion at the Conservatorio della Svizzera italiana with Bernhard Wulff. He holds a bachelor’s degree in music and a master’s degree in music education. Following his Master’s, he moved to Zurich and began his training as a sound engineer at the Zurich University of the Arts with A. Werner and A. Brüll. In 2018, he completed his Master in Composition and Theory with a specialisation in Sound Engineering. Since then he has been working for various productions in the studio and live. Since 2019 he works as a research assistant at ICST (Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK)). The development of new performance formats in connection with sound and technology plays a central role in his work.

A central focus of Jannik Giger‘s work is the examination of staging rituals in the art and music business. The media of video and sound are an integral part of his artistic work in the form of transformation, interference and communication processes. Hierarchical relationships and interactions between author, interpreter and work are a recurring theme in his work. Jannik Giger’s works are received internationally in music, film and art contexts. For example, at the Wigmore Hall London, as part of the Ultraschall Berlin festival, at the Elbphilharmonie in Hamburg, at the Swiss Art Awards, at the National Centre for the Performing Arts in Beijing, the Theater Basel, the Bern Music Festival or the Gare Du Nord in Basel. His compositions are interpreted by a wide variety of formations. These include the soloist ensemble Kaleidoskop Berlin, the Arditti Quartet, the Mondrian Ensemble, Sarah Maria Sun & Nina Janssen-Deinzer or the Ensemble Phoenix or Basel.

Marie Gimpel studied free art with a focus on contemporary photography in Leipzig and graduated with distinction in 2017. She began designing her first stage sets for theatres while still a student. Her work has been seen at Kampnagel, the Ruhrtriennale, the Staatsschauspiel Dresden, the Theater Oberhausen and the Düsseldorfer Schauspielhaus, among others. There she has worked with directors Hanna Müller, Babett Grube, the PENG! collective and most recently with the &sistig collective. She has a close and regular collaboration with the director and author Juliane Kann. In summer 2017, she also had her first assignment as a production designer on Julian Pörksen’s debut film WHATEVER HAPPENS NEXT, which premiered at the Berlinale in spring 2018 and was subsequently released in German cinemas. Marie Gimpel also continues to work as an artist. She lives and works in Hamburg and Leipzig.

The soprano and composer Katia Guedes was born in São Paulo and studied at the USP Brazil. In Berlin she completed postgraduate studies at the Hanns Eisler Academy of Music with Inge Uibel and Master’s degrees in music and theatre studies at the TU Berlin and FU Berlin. International concert activities have taken her to several music festivals, including the Semperoper Dresden, Biennale Salzburg, Munich Biennale, MaerzMusik, Ultraschall and Teatro Real Madrid. Guedes works with the ensembles Mosaik, KNM Berlin, Modern Art Sextett, nieuw ensemble amsterdam, Kammerorchester Basel, Klangforum-Wien, Berliner Symphoniker and the São Paulo State Orchestra. Her compositions have been performed at the Frankfurt Autumn Days, the BKA Berlin, Lisbon, Intersonanzen and the Avignon Festival. Her first work for voice and orchestra, “sitzen bleiben”, was premiered with the Youth Symphony Orchestra of the Hans-Werner-Henze Music School at the Pyramidale Festival. Katia Guedes lives in Berlin.

Ingo Günther is a musician, composer, arranger and actor. He studied cultural studies and aesthetic practice at the University of Hildesheim and pop music at the Hamburg University of Music and Theatre. Günther is co-founder of the film music band “die paramounts”, with whom various CD productions are produced. Ingo Günther works with directors such as Jarg Pataki, Sebastian Baumgarten, Barbara Weber, Claudia Bauer and Armin Petras at Schauspiel Leipzig, the Bayerisches Staatsschauspiel, Theaterhaus Jena, Nationaltheater Weimar, Schauspiel Magdeburg, Burgtheater Wien, Thalia Theater Hamburg, Maxim-Gorki-Theater and Volksbühne am Rosa-Luxemburg-Platz. Since 2007, he has had an intensive collaboration with Herbert Fritsch, including in the intermedial art project “Hamlet X” and at the Volksbühne am Rosa-Luxemburg-Platz in theatre works such as “Die (s)panische Fliege” (2011), “Murmel Murmel” (2012), “Ohne Titel Nr. 1 – Eine Oper von Herbert Fritsch” (2014) or “Pfusch” (2016). For the Schauspielhaus Hamburg and the Schaubühne Berlin, Günther composed style-defining music for all of Herbert Fritsch’s productions.

The music theatre collective Hauen und Stechen was founded in Berlin in 2012 by the music theatre directors Franziska Kronfoth and Julia Lwowski with the aim of creating contemporary music theatre that transcends borders and genres. The centre of their work is the examination of classical works of opera literature and their translation into disparate artistic spaces and the polyphonic, wild sound world of a collective. The ensemble has performed in established institutions such as the Hamburg State Opera, the Bavarian State Opera, the Deutsche Oper Berlin, the Stuttgart State Opera as well as in independent production houses such as the Sophiensaele, the Neukölln Opera, the Ballhaus Ost as well as Munich’s Schwere Reiter and the Schwankhalle Bremen. The collective also often works site-specifically, such as in the Neuköllner Grießmühle, the open-air site of the Wilden Renate or the house of the artist family Schoeck in Brunnen (Switzerland).

Paul Jumin Hoffmann is a freelance actor and theatre director from Berlin. After studying acting at the HMT Rostock, he took up his first engagement at the Grips Theater in Berlin. In 2016 he moved to the Junge Schauspiel Düsseldorf, where he played in the ensemble for 4 years. In the Bürgerbühne section, he led annual theatre clubs with citizens of the city. In 2020, he realised his first direction at the Junge Schauspiel together with Anke Retzlaff. At Theater der Welt 2021 he co-directed „Dream Machine“. In addition to theatre engagements as an actor, such as the current production „Im Prozess“ by the Düsseldorf theatre collective Pièrre.Vers at the Asphalt and Düsseldorf Festival, Hoffmann can also be seen time and again on TV (including Soko Köln, Marie Brand & Polizeiruf Magdeburg).

Flutist and performer Nuriia Khasenova completed her training at Moscow’s Gnessins Musical School-College in 2012. She then moved to Switzerland to continue her education at the Haute École de Musique de Genève. She received a Master’s degree in Flute Performance and Master in Pedagogy at the Zurich University of the Arts. She has been a member of the collective International Totem since 2015. During her studies, she participated in the Transcultural Collaboration between Zurich and Hong Kong, and engaged in various constellations between curators, visual artists, filmmakers and dancers. A large part of her practice integrates experimentation, and the extended application of her knowledge within different disciplines. Nuriia branches her practices between classical music practice and transdisciplinary disciplines. She also explores techniques of contemporary music, musical theatre and free improvisation. She continues to perform actively as a performer in various music festivals (solo flute and chamber music).

The singer, performer and sound artist Alexey Kokhanov was born in Moscow in 1981. As a trained opera singer, he works in the field of new music and performance art. Alexey is a member of the Theatre of the Voice “La GOL” directed by Natalia Pschenitschnikova. Alexey is also involved in several opera and theatre projects (Electrotheater Stanislavsky in Moscow etc) as well as in dance scene (Uferstudios, Hamburger Bahnhof) and makes his own performance projects in Moscow and Berlin. He also gives master classes in extended vocal techniques and improvisation at various institutions (Theatre of Nations Moscow, Festival Territory, TSEH Centre of Contemporary Dance etc.). Alexey Kokhanov has worked with several composers and premiered their works – Reinhard Febel, Christian Kesten, Dmitry Kourlandsky, Brigitta Muntendorf, Sergei Nevsky, Silvia Rosani, Lisa Streich, Wen Liu. Since 2019 Alexey lives and works in Berlin.

The music theatre company La Cage was founded in Berlin and Paris in 2015. La Cage makes use of a versatile repertoire, combines new music with music from other eras and other genres. In each piece by La Cage, a musical idea is linked with a sculptural idea. The perspective on space and bodies is influenced by the tradition of visual art. The artistic team formed for each project together with a musical ensemble is interdisciplinary and seeks new performative forms for the genre of music theatre. Aliénor Dauchez is artiste associée 2019-2021 at the French State Theatre La Rose des Vents, Scène Nationale Lille Métropole – Villeneuve d’Ascq, directed by Marie Didier.

For the first time, Pia Davila, Simon Janssen, Luise Kautz and Valentin Mattka are working as a collective under the name Liedmovies on a free artistic project. They all share a passion for opera and music theatre, for classical music as well as for new, experimental forms of music. As a professional soprano, Pia Davila is active in the classical repertoire as well as in the fields of new music and theatre forms. Her experience as a singer gave rise to the desire and the idea to add a further, visual dimension to the sung concert song, thus providing an expanded access for the listeners. In her work as an opera director, Luise Kautz searches for points of connection between the traditional compositional material and current trends in art, culture and society. These four music videos were created in collaboration with the video artist Simon Janssen, who uses theatre-related means in the conception of the Liedmovies. The stage designer Valentin Mattka built the gallery for them. The result is an analogue resonance space that invites you to visit the Liedmovies in company and where the added value of the live moment can be felt.

Martin Miotk has been working as a director and set designer since 2010. He began his artistic career as a theatre painter at the Hamburg State Opera. He then studied directing, free painting and stage design at the UdK Berlin. In 2017, he founded the “House of Ostravaganza”. An artists’ ensemble consisting of former GDR and West German stars with whom Miotk realises music theatre pieces, films and installations. In 2018, he staged the musical “Sweeney Todd” with ex-GDR stars at the Halle Opera. His spatial installation for the commissioned opera “OPERA OPERA OPERA!” (libretto: Thomas Köck) was shown in March 2022 as part of the “Munich Biennale” at the Utopiahalle in Munich. Numerous projects were created with the theatre collective Opera Lab Berlin, which specialises in contemporary music, including “Love & Diversity” by Manos Tsangaris. “OSTRAVAGANZA – the secret avant-garde of the GDR stars” Is Martin Miotk’s feature film debut at the “BAM! Festival” Berlin. |

_.mootpoint is a collective of artists working with multimedia performances, interactive installations and theatre. Its focus is on socio-political issues, theories about the body and space, and the relationship between the virtual and the real. _.mootpoint works with a broad network of artists from different disciplines such as sound, space and architecture. _.mootpoint are Anna Syrianou (space and video), Dimitra Thomaidou (dramaturgy), Fanis Gioles (performance, music, conception) and Jan Klammer (space and video).

The music theatre ensemble Opera Lab Berlin is a hybrid collective that links all members of the creative chain and thus forms the foundation for their work. People from every branch come together in Opera Lab: Whether they come from the fields of music, acting, composition, directing, choreography, stage and costume design, lighting, stagecraft or dramaturgy – together they are united by the desire to create unique musical theatre experiences. The virtuoso skills of all are to be expanded in each project. Since its founding in 2013, the collective has staged over twenty independent productions, with compositions by over forty different contemporary composers and over fifteen different directors. The core of the ensemble has now grown to over thirty members, while collaborations with artists and production staff have grown to over one hundred talents.

As a founding member of the experimental audiovisual studio at the Filmkunsthaus Babylon/Berlin-Mitte, Torsten Ottersberg was involved with electroacoustic experiments, interactive sound installations, computer and sampling production techniques in the late 1980s. From 1992 onwards, he became intensively involved with studio technology, sound reinforcement, acoustics and musical performance practice. In 1994/95 he founded his own studio GOGH Surround music prod. as a studio for live surround applications, pre- and post-production and interactive experiments. In addition to studio and live work for contemporary music, music theatre and opera, he creates interactive sound installations and performative installations, video works and sound design for film and opera. In recent years, among others, he has performed at the Berlin Philharmonie, Carnegie Hall New York, Moscow’s Meyerhold Theatre Centre , the Deutsche Oper am Rhein, the Berlin State Opera and at the Salzburg Festival in the Großes Festspielhaus.

The members of the paranormal φeer group (Jakob Boeckh & Maria Huber & Ole Hübner) met at the Gießen Institute for Applied Theatre Studies and have been creating sound/space-based performances and discourse together since 2019. They understand both as inseparably interwoven strategies with political, queer and utopian aspirations. For each project, they develop individual working strategies that draw their driving force from joint transdisciplinary experimentation, improvisation and jamming, and are additionally fed by philosophy, literature, science, etc. Current projects include the lecture performance „Staying Broken“ (with Neo Hülcker, Elbphilharmonie Hamburg), the online work „Befriending Ghosts“ (Volksbühne Berlin and HAU4 @ Performing Arts Festival) and the interactive music theatre installation „Loss of Signal“ (MS Stubnitz Hamburg, Next Level Festival Essen, BAM! Festival Berlin). |

Brazilian composer-performer Manuel Pessoa de Lima develops solo performances of language, sound, and video. His main interest is the exploration of failure. He works with the colour red. His site-specific performances have been performed in Antwerp, Berlin, Brussels, Melbourne, London, Los Angeles, Tel-Aviv, Stuttgart, Winnipeg and São Paulo.

Daniele Pintaudi and Iñigo Giner Miranda have a long-standing artistic friendship. Born in Switzerland, Daniele Pintaudi has worked as an actor and musician at various theatres in recent years, including the Theater Basel, the Deutsches Theater Berlin and the Théâtre de Vidy Lausanne. He has an ongoing collaboration with the Swiss director Thom Luz, with whose productions he makes guest appearances throughout Europe. He also regularly produces and performs his own plays, the last of which, “Solo Solo”, premiered in November 2021. Iñigo Giner Miranda is a trained pianist and composer. As a musician/performer, he can be seen regularly in concert halls and theatres throughout Europe. He has worked as a musical director and performer for Barbara Frey, Ruedi Häusermann, Matthias Rebstock and Rafael Sánchez, among others. He also works as a concert producer, e.g. for the Tonhalle Zurich or the Munich Philharmonic Orchestra. He is a founding member of the ensemble DieOrdnungDerDinge. |

Natalia Pschenitschnikova was born in Moscow and is an important figure in experimental music as a vocalist, flutist, composer and performer. She has appeared as a soloist and chamber musician as well as the author of various sound actions, conceptual compositions and film and theatre music. For many years, she has critically examined the voice within modern and contemporary music, and in her actions with a wide variety of artists, she has also crossed boundaries between artistic genres. Her involvement in numerous international festivals, collaborative events and solo performances has made her an established musical artist and an expert in vocal techniques and vocal performativity. She has lived in Berlin since 1993. Through her broad musical work, she connects Soviet-Russian musical culture with the West and thus contributes to the understanding of these long-separated parts of the world.

Anke Retzlaff is an actress, director and musician. In addition to various theatre and film engagements, such as her leading role in the ARD crime series “Über die Grenze” or in the feature film “Puppe” (nomination for the New Faces Award), she works as a director at the Düsseldorf Schauspielhaus and in the independent scene, among others. Her production Dream Machine (premiere 2021 at Theater der Welt) has attracted international interest and runs at major festivals at home and abroad (Santiago a Mil, Chile 2022). For her work as an actress in “GeRecht” (Tak, Berlin) she was named best emerging artist in “Theater heute” 2021. As a theatre musician, in addition to “Dream Machine”, she creates electro-acoustic music with the viola da gamba, e.g. for Corinna Harfouch’s reading “Nature and Crime” (Ruhrtriennale 2021). Her experience from the various disciplines flows into her work as a director, which is characterised by a high degree of interdisciplinarity.

Ana Maria Rodriguez combines the spontaneity of improvisation with formulated scores in her works. As a laptop player, she interacts with the musicians and thus participates in the interpretation of her own works. At the same time, she works with the concrete acoustic and architectural conditions of the performance space in her compositions, concert installations or scenic works. Thematically, the most recent works revolve around a focus that can be described as a relation of poetry and technology. This relationship means not only the compositional use of text, poetry and literary models, but also, more abstractly, the musical use of technological means for a richness of perspective inherent in poetry. Ana Maria Rodriguez’s main concern is to formulate heterogeneous layers of time, diverse spaces and plot lines that run counter to logic in a concise and sensual way, as in poetry.

Katharina Rösch studied theatre studies, literature and art history in Berlin and Istanbul and dramaturgy at the Ernst Busch Academy of Dramatic Arts in Berlin. As part of the Digital Dramaturgy team, she curates networking and discourse formats on the topic of theatre and digital technologies, including in cooperation with the Theatertreffen and the Fonds Darstellende Künste. Since the 2020/21 season, she has been an assistant dramaturg at the Düsseldorf Schauspielhaus, where she also works as a production dramaturg, in addition to “Dream Machine”, for “Lenz” by Georg Büchner (director: Fabian Rosonsky) and “The Tribunal” by Dawn King (director: Adrian Figueroa), among others.

Taiko Saito, born in Sapporo, studied marimba and percussion at the Toho Gakuen School of Music in Tokyo with Prof. Keiko Abe and with Prof. David Friedman at the Universität der Künste Berlin. Since then, international performances as a soloist and numerous awards and prizes have followed, such as the first prize at the 3eme Concours International de VIbraphone Claude Giot 2005 in France, the Special Talent Award at the Universal Marimba Competition 2007 in Belgium and the studio prize of the Belrin Senats in 2010. As a composer, Taiko won the Originality Award at the 2004 International Marimba Competition for “Landscape IV”. In 2003 Saito founded the duo marimba/vibraphone+piano with the German jazz pianist Niko Meinhold. Together with Rupert Stamm she also founded the jazz mallet duo “PATEMA”, whose recording was released by Zerozero in 2007. She has played with artists such as Keiko Abe, David Friedman, Eric Sammut, Michael Schiefel, Celine Rudolph, Daniel Matter, Yelena Kuljic, Oli Potratz and Ketan Batti, and collaborated with hip-hop artist and producer Shing02 and contemporary composer Sofia Gubaidulina. Saito gives master classes and workshops in Japan, Europe, Colombia and the USA.

Lukas Schäfer is a multi-instrumentalist, composer and music producer. He studied school music and instrumental pedagogy at the Cologne University of Music and Dance and is active as a musician in the fields of electronic music, jazz, pop and ambient. As a jazz drummer and sideman, he has received several awards and participated in renowned master classes in popular music. He also works regularly with cultural practitioners from the fields of theatre, film, visual arts and literature and is a founding member of the Sono Kollektiv for site-specific spatial music.

Canadian artist Glen Sheppard lives and works in Berlin, London and Valderice. Glen works with performance, film and installation and uses the medium of music to create time-based sculptures of psychological choreographies and documentations thereof. Current projects include “Une Mystification” (Berlin, 2020), “Außer ich” and “A L E X A N D R I A” (both Berlin, 2019). “A Tale”, produced by Glen Sheppard with director and photographer Katrin Thomas, won the Grand Prix du Court-Métrage at Entrevues Belfort and films he has produced with his partner Fritz Polzer have screened at festivals worldwide and won awards. In addition to his artistic practice, Glen Sheppard works regularly as a revival and associate director and as an assistant director on the international opera scene, for instance at English National Opera in London, National Opera of Denmark, Bard Summerscape. He works continuously with directors Christopher Alden, William Kentridge, Daniel Kramer and Netia Jones.

Elif Gülin Soğuksu is an Istanbul-based composer, sound designer and performer. She studied electronic music, composition and music production at Istanbul Bilgi University. She works in both digital and analogue formats for theatre, concerts and films, and is primarily active in interdisciplinary projects between performance art, media art and sound art. She came to Berlin in the summer of 2021 via an Erasmus project, which developed into several collaborations with members of Errant Sound, including Laura Mello, Julia Cremers and Steffi Weismann.

Matin Soofipour Omam studied dramatic literature and scenic writing at the University of Tehran and theatre education at the University of the Arts in Berlin. Her first engagements as a theatre pedagogue took her to the Grips Theater Berlin and the Düsseldorf Schauspielhaus. From the 2021/22 season, she will be working permanently as a dramaturge at the Theater an der Parkaue. As a freelance author and theatre maker, Soofipour Omam is involved in various collectives such as Suite 42, Projekt-il, Waltraud900 and Geschichten aus der Stadt.

Nolundi Tschudi is an actress, performer, author and singer. Her work has been shaped above all by collaborations with various groups in the independent scene, such as the Hauen und Stechen music theatre collective, Glanz & Krawall, the helmis and OperaLab Berlin. She also works regularly with the singer and performer Cora Frost. In her own work, she creates performative-theatrical installations in which she progressively develops her own brute-poetic texts and art figures, which increasingly condense into solo performances.

The Berlin-based performance and sound artist Steffi Weismann is a border crosser between visual art and music. Her focus is on audio performances, mixed media compositions and interventions in public space. Her working method and the structure of her works are essentially dialogical and show references to the Fluxus movement. Weismann combines bodies, things and sounds in space. Her settings are performative and combine analogue and digital means. In recent years, the transfer of tactile experiences into sonic processes has played a central role. Since her studies at the Berlin University of the Arts, she has been performing internationally with the Ensemble Maulwerker. Weismann has received numerous prizes and grants, including from Villa Aurora Los Angeles, Kunstkredit Basel, Hochschule für Bildende Künste Braunschweig and the Senate for Culture and Europe Berlin. Since 2019, she has been curating the series „Ready Making“, on sound performances with objects in the project space „Errant Sound“, with Janine Eisenächer.

Karolina Wyderka studied architecture and interior design at the Peter Behrens School of Architecture in Düsseldorf. After her studies, she worked as a set design and styling assistant in Düsseldorf in the fields of fashion photography and advertising. Since 2017 Karolina has been freelancing in film and theatre. She worked as a set design assistant on various films and in parallel realised her own set designs for the Academy of Media Arts in Cologne (KHM) on various diploma films. In the field of theatre, Karolina has been working regularly since 2017 as a guest assistant at the Düsseldorf Schauspielhaus in the area of stage design, including for productions by Robert Wilson, Armin Petras and Roger Vontobel. As a freelance stage designer, Karolina has worked at the Theater Duisburg, SeTA at the FFT Düsseldorf, the Stadttheater Ingolstadt and various independent theatre productions, such as the theatre festival “Theater der Welt 2021”.

The Swiss singer and composer Christian Zehnder first studied jazz guitar before completing classical vocal studies as a baritone. Further training in overtone singing with Tokne Nonaka and body voice techniques according to Alfred Wolfsohn led him to free, non-verbal singing and into his very individual musical cosmos, which often moves at the intersection of performance and music theatre. Christian Zehnder works in a variety of ways between jazz, new alpine and contemporary music. Through the continuous development of European overtone singing techniques, Zehnder is undisputedly considered one of the most creative and innovative minds on the scene.

Sabrina Zwach studied cultural studies and aesthetic practice at the University of Hildesheim. She then worked as a dramaturge and director in the independent scene. This earned her the German Literature Theatre Prize in 1994, among others. In 1999 she curated a programme segment for “Weimar 1999 – European City of Culture”. Afterwards she worked as a radio presenter and managed an event house in Weimar. On behalf of the German government, she curated the 5th festival “Politik im Freien Theater”” in Berlin in 2005. From 2006 she worked as a dramaturge and curator for “Hamlet X”, beginning her collaboration with Herbert Fritsch. From 2008-2011 she worked at the Volksbühne am Rosa-Luxemburg-Platz. In parallel, she is responsible for the versions and adaptations, new translations of the plays of Herbert Fritsch’s productions. At the Berliner Ensemble, Zwach worked as a permanent dramaturge in Oliver Reese’s first season, then was in the artistic direction of the Burgtheater under Martin Kusej in Vienna and is now working again as a freelance author and dramaturge.
Kay Zhang was born in Melbourne and lives and works in Zurich. She studied in Melbourne (Victorian College of the Arts / University of Melbourne, Bachelor of Music with Honours), Bordeaux (Conservatoire de Bordeaux, Music Performance and Chamber Music) and Zurich (Zurich University of the Arts, MA Music Performance and MAE Curatorial Studies). Her artistic practice moves in the field of tension between sound, performance, curation and research. Zhang is a founding member of Kollektiv International Totem, andrej-zimmermann-zhang trio, The Alchemists’ Bruit and ATOMOX. She fosters collaborations with composers, visual artists, theatre and other art disciplines. She curates various projects and coordinates various platforms and is dedicated to exploring and expanding knowledge of her practice by exploring the boundaries of sound performance experiences through improvisation, transdisciplinary forms of curation and the integration of cultural understandings.