Emotional Training for Worldwide Bodies

Concept, director

Andreas Liebmann

Performance, developement

Martin Clausen, Beatrice Fleischlin

Music

Michael Emanuel Bauer, Georg Karger

Dramaturgy

Max-Philip Aschenbrenner

Set, tecnical director

Wolfram Sander

Artistic collaboration movement

Pierre Caesar

Assistance

Maria Fuchs

Johannes Hock

 

Production management

ehrliche arbeit - freies Kulturbüro

Coproduktion HAU Berlin, Kaserne Basel, Alte Liebe Bremen, Schlachthaus Theater Bern 2010/2011

further shows at

FFT Düsseldorf, Gessnerallee Zürich

 

 

With the kind support of:

Regierender Bürgermeister von Berlin, Senatskanzlei - Kulturelle Angelegenheiten, Migros Kulturprozent, Fondation Nestlé pour l'Art, Pro Helvetia, Ernst Göhner Stiftung, Georges und Jenny Bloch Stiftung und Nationales Performance Netz

Press

FEET IN MEXICO, EARS IN TAIWAN – AN OVEREXTENSION

 

To be an enlightened citizen of the world. To rely on one’s observations, to describe and understand the world in one’s own words. How does that work in times when everyone is supposedly in touch with everyone? Demonstrations or a somersault make other demands on my body than clicking on online petitions on the internet. But how does my body change if I can wrap my feelings around the world? What does it mean to have an opinion? What does it mean to love? In Emotional Training for Worldwide Bodies, views on democracy, on guilt and responsibility, on eternal love and the personal character of cities are synchronized with physical relations. When does one’s own migration history end in pure feeling, in excitation or in the highest notes? How does one fly an airplane? A danced duet. Salto mortale. The beloved appears. I was going to think about Gibraltar. Fermata. Is total intimacy a prerequisite for global thinking?

Martin:

 

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