New year, new luck!

While the pandemic does not allow for theatrical performances for good reasons, we still want to make good use of the time to be able to meet or stay in touch with you in other ways: We are working on transforming our productions into partly digital, partly hopefully surprising live formats. More about this soon!



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Christmas-Jam with the Trickster Orchestra and others

To conclude the series “Beethoven Backstage”, members of the cast of “The Man Who Called Himself Beethoven” wanted to meet for the last time this year for a live session. With the founders of Trickster Orchestra Ketan Bhatti & Cymin Samawatie, who, along with pianist Niko Meinhold, composed the music of our Beethoven-production, and the Sheng-virtuoso Wu Wei.

In the spirit of “The Man Who Called Himself Beethoven” and his credo for a fairer society, we wanted to invite you to think outside the box…

… and donate to an initiative of your choice: For example, for more environmental and animal protection, climate protection, for humanity at Europe’s borders or for the indispensable work of the Berliner Stadtmission.

The jam can’t take place due to the pandemic situation. We wish you a healthy and empathetic Xmas !


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SAVE THE LAST KIEZ im Zauberkönig

Itching powder empty? Poop cushion broken? And you haven’t been enchanted for a long time? High time for a visit to the Zauberkönig at Schillerkiez! Together with Maya Alban-Zapata, Cymin Samawatie, Milian Vogel and Wu Wei (Trickster Orchestra/DER MAN DER SICH BEETHOVEN NANTE) we were on site shortly before the November lockdown and talked to the operators – about corona, board shacks and burst magic theater dreams.

Performers: Maya Alban-Zapata, Cymin Samawatie, Milian Vogel, Wu Wei
Interview: Karen German and Kirsi Hinze (Owners Zauberkönig)

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Find all information on the project Save the last Kiez here

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Text of Opera for Sale published

Opera for Sale could only be performed once – the day after the premiere in March 2020, the lockdown came. The real estate satire could not reach by far as many theatergoers as the originally planned and at the time of the premiere already sold out performances would have made possible.

Thanks to the support of the author Felix Krakau through the program “100 new plays for a large audience” (German Literature Fund), we were now able to publish the entire text of the stage version here.

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What is waiting for us there? In the Chambers of Wonder of the 16th/17th century, princes, noblemen and wealthy citizens collected the most peculiar finds from all over the world, curiosities from nature, art and science.

The further the Europeans explored the rest of the world and mostly brutally subjugated it, the greater was the variety and fascination of the things that now came from overseas – the so-called exotica.

Alexander von Humboldt’s expeditions to South and Central America in 1799 – a German Protestant, with the permission of the Catholic King of Spain – the Chambers of Wonder were in disintegration, a new spirit of a different scientific view had replaced the concept of collecting and wondering. And yet much of what Humboldt had researched and brought back to Europe would have found a prominent place in the cabinets of the Chambers of Wonder: Their spirit, which understood and connected everything as the work of God, always in respect for the other, including the shapelessly malformed, would have been newly animated with Humboldt’s special view.

For Humboldt approaches the new, for him foreign world with the curiosity of the child and the scholar, with open, unprejudiced interest and empathy. Isn’t this an invitation to ourselves in everyday life: to meet everything with a questioning, turned-away sympathy and to act accordingly? A benevolence that is never uncritical of injustice and grievances?

But the old Chambers of Wonder were also places of research – with this approach and Humboldt’s view, we make our WUNDERKAMMER II a place of experimentation on our own bodies – Alexander von Humboldt did the same, by the way, with unwavering consistency. We explore ourselves in the echo, in the resonance to the world. Normally we act and react with it via the outwardly directed senses. Now we are going to do the experiment with view reversal: What do our senses (as antennas to the world) “tell” us “inside ourselves”, in thoughts, inner images, feelings, premonitions?

“Object of research” is the world using the example of Mexico – around 1800 and of course today. We take Humboldt’s itinerary as a map and our inner senses as a compass. Humboldt had brought back thousands of data and finds from the plant and animal world, from geology, climate, about people and their cultures. Only one thing he did not bring: music and smells.

And now we are catching up on that. The encounter with the world takes place within us as a journey of sounds and smells from Mexico. In the end we will have discovered something for and with us. And we will also learn more about hearing and smelling as ancient, fundamental senses and gates through which people move in the world. Tour guides are the composer and singer Diana Syrse, the soprano Ana Schwedhelm and the scientist and performer Anna D’Errico.

The Wunderkammer II will take place in the Kiezkapelle at the New St. Jacobi Cemetery Neukölln on October 23 and 24, 2020. With (unfortunately!) limited number of participants.

Concept, Moderation und Scenography: Bernhard Glocksin, Sabrina Rossetto

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New event series: WUNDERKAMMER starts Saturday, 19 September 2020!

What other spaces of experience can music and narration open up, beyond current theater forms? Could the mirrored cabinets of the historical cabinets of curiosities create a productive, sensual echo chamber that enables other perspectives on a complex world?

The Chambers of Wonder around 1600 – pre-forms of today’s museums – placed their often bizarre exhibits of art, craftsmanship, nature and science in a holistic “world context” that is often missing today. Inspired by this, the Neuköllner Opera House offers a new event format that brings together an inquisitive audience with experts in music, science and art. With music as the central mediator, found objects, stories and experiments are brought together in a different light.

The foundation stone will be laid this weekend:

WUNDERKAMMER I – Sound and Worldview
THE AIR BETWEEN THE STRINGS. A journey with the baroque harpist Luise Enzian to the origins of music history and into the echo chamber of the Renaissance, with insights into the world, the central role of music, small experiments and sound images by Lena Wenta.
19/20 September 2020 at the Neuköllner Oper.

WUNDERKAMMER II – Imagination and smell
THE DREAMS OF ALEXANDER VON HUMBOLDT. A sound and smell journey to Mexico.
The composer Diana Syrse, the soprano Ana Schwedhelm and the neuroscientist Anna D’Errico (Goethe University & Max Planck Institute Frankfurt) lead into an expedition of the inner senses.
October 23 and 24, 2020 in the Kiez-Kapelle of the Prinzessinnengarten Kollektiv Neukölln.

WUNDERKAMMER III – Music and Cosmos
THE UNANSWERED QUESTION. Music, cosmology and the big questions.
With Charles Ives’ composition The Unanswered Question, the music duo Wild Strings and the astrophysicist Sibylle Anderl on the moving questions in music, cosmology, quantum physics and philosophy.
18 February at the Zeiss-Großplanetarium.

WUNDERKAMMER IV – light, color and music
With music by Skrijabin, the director and video designer Vincent Stefan, the pianist Markus Syperek and a scientist on the trail of electromagnetic radiation, light, thoughts and of course music.
March 18, 2021, location to be announced later.

Further WUNDERKAMMERN are in preparation:
starting summer 2021: From the nature of mushrooms and interwoven life, to water and knowledge, animals in us, baroque automatons and artificial intelligence, etc.

Concept: Bernhard Glocksin
Equipment: Sabrina Rossetto

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