Workshop for movers by Flocks&Shoals // Berlin

Flocks & Shoals Performance Art Collective

Workshop for movers, from the material of our current performance development:

without me_zygodactyl

The focus of the 3-days workshop is the approach on issues of individual interaction and awareness about what constitutes an individual in the group context and what constitutes a group made of individuals. Another central issue is the exploration of the plain elemetal presence of the body and of the group.

The movement research is based on the observation of natural phenomena and concepts developed from it (eg. swarm intelligence and the concept of space between).

Date and time: 23 – 25 May 2014, Fri – Sun, 10.30 am – 3.30 pm

With: André Soares, Antje Schmidt, Catarina Miranda, Miranda Markgraf

Location: Dojo Kokugikan, Skalitzer Str. 33, 10999 Berlin (U-Bhf. Görlitzer Bahnhof)

Price: 160 euro/130 euro, if before 20. April 2014

Language: English (German, Portuguese and Spanish are possible)


check our site!!

Flocks & Shoals Performance Art Collective

Premiere “Mikrologie der Krise” by Flocks&Shoals

Flocks & Shoals developed since 2010 performances that deal with the presence of the body, the presence of groups and masses, light choreography, real time construction and uninterrupted cyclic dynamics in space, leading to a change in the perception of the viewer. We have developed approaches and forms of movement that are based on the the idea of swarm movement and collective intelligence.

In MICROLOGY OF CRISIS we examine hidden phenomena of crises, below the surface deteriorating situations, moments of transition from one state to another. Crises develop slowly or quickly, without being noticed before, and then suddenly start to appear. The sudden collapse in existing structures leads to a temporary instability, which opens a space in which everything is possible and nothing is decided. This transition contains always a residual uncertainty within rules and structures. This residual uncertainty unfolds between continuity (persistence / renewal) and discontinuity (break / jump) its effect.

Citation G. Bataille

“Within the asexual organism a there was continuity. When aa and aaa appeared, the continuity was not immediatly done away. Weather it vanished at the beginning or the end of the crisis is unimportant, but there was a moment of suspense. At that moment, that which was not yet aa was continuous with aaa, but the plethora is what initiates threatening this continuity. The plethora is what initiates the glide towards the division of the organism, but it divides at the very moment, the moment of the glide, the critical moment when these two beings about to become seperate any minute are still not yet so. The crisis of seperation springs from the plethora; it is not separation yet, but a state of ambiguity. In the plethora the organism passes from the calm of repose to a state of violent agitation, a turbulent agitation which lays hold of the total being in its continuity. But the violence of agitation which at first takes place within the beings continuity calls forth a violence of seperation from which disconiuity proceeds. Calm returns when the seperation is complete and two distinct beings exist side by side.” (96)

“Reprouction implies the existence of discontinuous beings. … Each beeing is distinct from all others. His birth, his death, the events of his life may have an interest for others, but he alone is directly concerned in them. He is born alone. He dies alone. Between one being and another, there is a gulf, a discontinuity.” (12)

„existence itself is at stake in the tansition from discontinuity to continuity. Only violence can bring everything to a state of flux in this way, only violence and the nameless disquiet bound up with it. We cannot imagine the transition from one state to the another one basically unlike it without picturing the violence done to the being called into existene through discontinuity.“ 17

„We are discontinuous beings, individuals who perish in isolation in the midst of an incomprehensible adventure, but we yearn for our lost continuity.“

 A creation of : Antje Lea Schmidt, André Soares, Catarina Miranda, Daniela Schmidtke, Miranda Markgraf, Roger Rossell and Rosabel Huguet.

23. + 24. November at  20h

Hoftheater Kreuzberg

Naunynstr. 63 (in Hof der Naunynritze) 10997 Berlin

Tickets (donation/spende): 6/8€

With the support of :
Tatwerk, Theaterhaus Mitte, Hoftheater, Biotropic and Balleteatro.


Hoftheater Kreuzberg

Flocks&Shoals site

Tip Berlin

Flocks & Shoals perform at MicaMoca Berlin

FLOCKS & SHOALS Art Collective are happy to invite you to be present at the performance FLOCKING/ HERDING/ SHOALING/ SWARMING, as the result of a 3 days workshop about processes of performance creation for a mass, specially concerned with group presence and sound/space development dynamics.

The event will take place on the 26th of June at 7pm, at MicaMoca/Wedding-Berlin. The entrance will cost 5eur.



Organization: Flocks and Shoals/ MicaMoca

Direction: Catarina Miranda

Co-creation: André Soares, Antje Schmidt, Chiara Picotto, Daniela Scmidtke, Miranda Markgraf, Rosabel Huguet.

Light design by: Roger Rossell

Special thanks to all participants and to Helena Botto, Sara Pereira, MicaMoca’s Team, Altes Finanzamt and Theatrehaus Mitte.


FLOCKS & SHOALS give name to a collective of artists, engaged on the process of constructing (image, sound and sensitive) space in real time.

It consists of dance performance development, regarding the research on group presence, within states of enlighten and darkness; a choreographic movement research, based on the analysis and fiction of animal group displacement’s inherent movement, while a proposal of recognition of the “space between” contexts and production of meaning in relation with an audience.

The intention of establishing a cyclic and uninterrupted dynamic, enables the changing/triggering of perception in the elasticity of spatio-temporal contents, which support the collective moment, generated by a group, where the global happening, is greater than the sum of its parts.

More info at /// ///


More pictures about the work,  by Roger Rossell:









Open call / Flocks&Shoals


OPEN CALL// Flocks & Shoals


Flocks & Shoals Art Collective are organizing an open call directed to artists (performers, singers, dancers, actors, visual artists and students) and to all interested people (without necessarily having performance background), in order to participate in a workshop related to processes of performance creation for a mass, specially concerned with group presence and sound/space development dynamics.

We would like to build a substantial mass of people in order to work from the power and potential of a heterogenic group and with the intention to create a moving choir performance presented to an audience.

The event FLOCKING/ HERDING/SHOALING/SWARMING will take place on the 24th, 25th and 26th of June at MicaMoca/Wedding-Berlin _ _ and will be directed by Catarina Miranda/Flocks & Shoals Collective.

The first meeting will be held in Theaterhaus Mitte _ _ on June 13th, at 7pm, as an open rehearsal format, in order to present the project proposal.


The schedule related to MicaMoca’s meetings will be:

24th Friday /June, from 3pm to 7pm

25th/ Saturday/June , from 11am to 2pm

26thSunday /June, from 3pm to 6pm. Performance will start around 7pm


Please send your name, a small biography, and your contact until 12th June to

In case of doubt, don’t hesitate to write us.

There is a participation fee of 5eur per person to support costs of materials.

We kindly ask you to re-send this email to people that might be interested.

Thanks for your help!

Best regards,




FLOCKS & SHOALS give name to a collective of artists, engaged on the process of constructing (image, sound and sensitive) space in real time.

It consists of dance performance development, regarding the research on group presence, within states of enlighten and darkness; a choreographic movement research, based on the analysis and fiction of animal group displacement’s inherent movement, while a proposal of recognition of the “space between” contexts and production of meaning in relation with an audience.

The intention of establishing a cyclic and uninterrupted dynamic, enables the changing/triggering of perception in the elasticity of spatio-temporal contents, which support the collective moment, generated by a group, where the global happening, is greater than the sum of its parts.


More info at

Previous work, developed with dance students in Portugal here.


Performance cycle _ The Space Between#3

I am very happy to invite you all to the Performance cycle _ The Space Between#3, an one evening event consisting of the presentation of three performances created from the same action score:

“Voice studies for SOLACIA” by Flocks&Shoals
“One is… and seven will continue” by Se-Rok Park
“Inwhiteout # organisms” by André Soares

It will take place at Altes Finanzamt, on 6th May, starting at 8.30pm (doors will open at 8pm).

Voice studies for SOLACIA

Looking at emptiness as the very center of our being, containing all possibilities, all potential, and all that appears.
The subject consists of the Totality of the “Real”, understood by G. Bataille as “the world where objects are on the same plane as the subject, where they form, together with the subject a sovereign totality which is not divided by any abstraction and is commensurate with the entire universe”. (in The Object of Desire and the Totality of the Real)
_created by Catarina Miranda
performed by Flocks&Shoals// Antje Schmidt, Catarina Miranda, Chiara Picotto, Daniela Schmidtke, Miranda Markgraf, Rosabel Huguet//

One is… and seven will continue

The Community and the Individual as opposing poles- and yet both are necessary to survive and exist. An exploration of these aspects in diverse ways of expressions will be encountered and opened up to participate.
_ created and performed by Se-Rok Park
with appearance by Felix G.

Inwhiteout # organisms

The space as a choreographic movement/sound research, a contiguous living system where all organisms are capable of response to stimuli, reproduction, growth and development, and maintenance of homoeostasis as a stable| fragile whole. Many cells/insects grouped into specialized tissues and organs of the body. That consists of organisms and displacement’s inherent movement within situations of being alive, feeding, fighting, mating or death.

An alive sculpture as bodies call recognition of the “space between” objects|elements and contexts in relation to an audience in a space and time.

A cycle is established as well as an uninterrupted dynamic that enables the changing/triggering of perception in the elasticity of spatio-temporal contents, which support the collective moment, in this case generated by a single body made of other bodies with an irregular topology, results of the metamorphosis of the interior space: it is extended by a strange reversal, in outer space (made of other substances), other bodies (made of other beings), other time (past, present and future overlap), other perceptions of existing as collective material, universal and timeless.

_ created and performed by André Soares

Lights support by Roger Rossell.

Thanks for your interest and hope you can come!!!


Altes Finanzamt

Schönstedtstraße 7 – EG Neukölln 12043 Berlin Access through the yard

U7 Rathaus Neukölln (Exit Schönstedtstraße)

Link of the place:

Altes Finanzamt


360º Theaterensemble

Premiere of Suburbis

What hides in the slums of a City that attracts the interest of outsiders? Look through the cracks to the underground reality and unknown history of the forgotten people; the slum dwellers and street walkers that lurk in the dark alleys.
The composer Frederic Mompou dares to describe the life of the forgotten. He enters the slums of Barcelona of the 1920’s and connects to this other world, with all its harsh reality, characters and beauty to accompany him on his poetic journey.
The Theatre Ensemble 360 created with different theatrical languages, a reflection of the freedom of the artist who interprets the world with its palette of colors and grades and the attempts, framed in an impressionistic environment to grasp the essence of the moment


18th of April, 2011


Eisenbahnstraße 21

10997 Berlin

Tel: 612 88 880



Other information:




In Nächten und Händen

We could start working on this piece thanks to the support given by the Spukkomune in Berlin and their program of Residences for artists (Luftschnitt#11 ).

On the forth and fifth of September 2010 we could show there our work in progress after one month of research. Thus, we were able to exchange with the audience a variety of points of view and constructive criticism in order to improve the future of the piece.

The original idea of it comes a year before all this, in Barcelona, after working with the choreographer and teacher Andrés Corchero, who directed our last works in the Institut del Teatre de Barcelona (El mundo de los simples and Cos a cos).

After this great experience, we will kept on researching around movement, composition, rhythm, space and how to put into practice all this in a theater piece. All this new inputs have been feeding our work  and are still now the engine of it.

Synopsis  ___________________________

A room, a space which is almost empty. Three women and the night in common; three different stories and the need to express what lives inside them. Two  narcoleptic and an insomniac. Opposite stories but the same desire; to rest. During the length of the piece these three women are going to create images of their distressing everyday lives; images which will appear and disappear as if they were nightmares or night visions.

Maybe because of the hallucinations they suffer and the mess of feelings they have, perhaps because they all feel unable to find a solution to their problem, or due to their common struggle to rest. Perhaps out of the confusion they share during daytime. For all these reasons and despite the inconveniences, these three women will finally build a home out of  the space and the time they have. Throughout the piece, they are all going to project their desires and hopes on a white wall in the room.  There, they will draw the picture of what they want, an image that’s going appear gradually during the length of the piece. Their bodies will fall as a sack of potatoes, switch themselves off, throw themselves to voidances but they are not afraid of the night and will keep on dancing between light and shadow.

Goals __________________________________

  • Going deeply  into the study of  movement from a specific premise; the complete loss of muscle   tone.
  • Let the audience enjoy from a non classicalcomposition but from an associative composition.


  • Give the audience an amount of visual and theatrical images in order to  allow them to become more active during the piece length.
  • Contribute to innovation within the field of artistic creation through multi-disciplinary languages.
  • Create a piece based on  beauty and simplicity despite the difficult economical and social reality of the subject.

Starting point ______________________________


Narcolepsy is a rare syndrome of unknown origin, characterized by an entry in the REM phase immediately after sleep onset or after a nocturnal awakening, anomalous fact that explains why, strangely, narcoleptics often remind  all the dreams they have.

The term narcolepsy (meaning attack or crisis of drowsiness) was first used in 1880 by a doctor named Gelineau to name certain irresistible episodes of sleepiness, short-lasted, which appeared in small time intervals. Galineau didn’t describe all the characteristic symptoms of this disease, but he realized that “sleep attacks” made the patients occasionally  fall (or crisis of cataplexy, as we say today).

Narcolepsy is a chronic (once you get it, it lasts forever),  affecting two to seven people in ten thousand, out of which most are men.  It can appear until the  sixties, but more often it is detected in the twenties and thirties. 88% of the people who suffer the first symptoms develop it before they’re thirty-five.

It is not clear which are the causes of the disease. However, recent studies reveal that there may be a relationship between narcolepsy and a disruption of the monoaminergic system, which regulates the transmission of brain impulses. What it has been clearly demonstrated is that in half of the cases, there is a genetic predisposition to this syndrome.  Approximately 50% of the cases, some circumstances of stress or a schedule change that creates a serious lack of sleep acts as a trigger of symptoms.

The main symptoms of narcolepsy are excessive daytime sleepiness and cataplexy. There can be  also  hallucinations and sleep paralysis.

Over the years the symptoms of narcolepsy usually decrease slightly in intensity, but they never disappear completely.


During the day and as a result of a strong emotion  (fear, laughter, anger, surprise …), the narcoleptic suddenly loses muscle strength, completely or partially, to experience an attack of cataplexy. Cataplexy is the second symptom of narcolepsy and appears usually three or four years later that the sleep attacks.

These episodes usually happen from ten in the morning until nine in the evening, and depending on the time it takes place and the emotion that has trigger it, it can last  a few seconds or a few minutes and it never causes a loss of consciousness. However, in exceptional cases can last up to thirty minutes. In this case, they are followed by periods of sleep.

The emotional cause that triggers the crisis does not match at all narcoleptics. In some people is the joy or laughter unexpectedly after a funny phrase, in others the thrill of racing a sport, or fear. Some situations that can cause anxiety can also trigger attacks; talk to strangers, ask for directions or for help  can be difficult issues for  narcoleptics. For this reason, these people end up feeling inferior, experiencing shame to the others or try to avoid uncomfortable situations very often.

When the crisis is partial usually affects the neck muscles of the face and also causes irregular breathing. When narcoleptics get excited for some reason, it is very common that their faces seem to  “break down”,  as if her facial muscles lose strength, leaving them unable to speak for a few seconds.

If cataplexy affects the muscles of the trunk and arms, prevents certain movements with precision. When the crisis affects all muscles, the cataplexic can fall to the ground, with the consequent risk of fractures and bruises.

In dogs with this disease it is observed that the sight of food (emotional cause) make them fall to the ground (episodes of cataplexy) and sleep (sleep attacks).  It is shown that the lack of strength (or muscle weakness) experienced by narcoleptics is very similar to that of REM sleep at night. In fact, it is as if the person had been suddenly plunged into this kind of dream.


The paralysis is often accompanied by dreams that can occur when falling asleep or, more rarely, when waking up again. During these hallucinations,  narcoleptic can get to see disproportionate, incoherent and spooky nature images. Some people explain that they are “out of themselves”, while others say they have referred to animal or human images that appear and disappear abruptly. Some also claim to have had auditory sensations, sensory or olfactory.


Narcoleptics often feel the urgent and sudden need to have some minutes of sleep, especially when  environmental conditions  are relaxed and monotonous.

In spite of the effort, they can not avoid falling unwillingly asleep.  After sleeping, they notice an active and eager to go back to with their tasks.

At night, these people have a very inconsistent sleep, with some brief wakefulness, but in the morning they feel strong enough to start the day. However, after several hours of activity, the feeling of drowsiness invade them again and doesn’t disappear until they get to sleep a few minutes. This torpor is responsible of the decreasing level of attention, memory lapses and their changeable role at work or school.

Theatrical language ___________________________

“IN Nächten und Händen” is a piece with only a few text; this responds to our original intentions of building a theater piece based on silence.

“Se trata de una omisión para la revelación, una omisión que significa, un vacío que atrae la atención hacia sí mismo y produce la expansión de otros signos escénicos, convirtiéndose en decisivo agente de su gran movilidad actual, la movilidad del gesto teatral” (Antonio Sánchez Trigueros).

“It is about an omission for the revelation, a omission which means, an emptiness that draws attention to itself and produces expansion of other stage signs, becoming a decisive agent of its great current mobility, the mobility of the theatrical gesture”.

If there is silence, the performer has to generate an internal speech powerful enough to keep the first impulse alive during the length of the piece. This leads to the research of different expressive possibilities:  searching for non-verbal responses pushes the expressive possibilities of the bodies.

The structure is basically build out of physical actions, images or  texts on which we have been working and afterwards develoing in order to create the final structure. A structure which is more based on associative thinking rather than to a common dramaturgical line. There isn’t any text which helps the one who’s looking to understand what’s happening; they understand being all the time aware of the actions, of what’s actually happening here and now. Thus, the understanding comes from a different source; the observers have to create their own “cause and effect” line in order to understand  the things that are  happening  on the stage.

The performers do things, we do very precise things. However, maybe the observers don’t see the things we do but other things; maybe the things we do take a different meaning for them, a more personal meaning. We give inputs and the audience transform them.

CAST ______________________________






performance Spukkommune


Impressions  _________________________________