RAM MAN Series by Flocks&Shoals at Dock 11 / Berlin

RAM MAN Series _ 2nd to 5th May / 20.30h / Dock11, Berlin

A WILD SHEEP DANCE by André Soares

THE QUIVER MADE OF FLESH by Catarina Miranda

Presentation of 2 solos conceived by André Soares and Catarina Miranda created from a personal research about the occupation of spaces through processes of transmutation. Event supported by Dock11, Flocks&Shoals, In white Out, Soopa Collective.

A WILD SHEEP DANCE by André Soares

No Animal is dissatisfied … “I think I could turn and live with animals, they are so placid and self-contain’d, I stand and look at them long and long. They do not sweat and whine about their condition, they do not lie awakehe dark and weep for their sins, they do not make me sick discussing their duty to God, not one is dissatisfied, not one is demented with the mania of owning things, not one kneels to another, nor to his kind that lived thousands of years ago, not one is respectable or unhappy over the whole earth.” (Walt Whitman, in “Song of Myself”)

This solo performance is a eulogy to poetry. The human known body is dissolved by hybrid and zoomorphic bodies and the “unspeakable” takes place over that man’s dance. All categories, all abstractions developed by civilized life may become expendable, insufficient – it simply revels an impersonal dimension of emptiness experienced by him. A vitality emerges, an impersonal presence that relates and fills body with anima nature. He becomes it: the codes are undressed and language gets naked, both uncovered in their poverty towards a world of animality and the uniqueness of things. This wild sheep dance opens up a relationship with the world which is not different from artistic creation, where life and fiction become indistinguishable.

Concept and  Performance _ André Soares/ InWhiteOut


Lucia Albini, Matthew Branham, Catarina Gonçalves, Rosabel Huguet, Moo Kim, Liselotte, Miranda Markgraf, Brit Rodemund and Daniela Schmidtke.


THE QUIVER MADE OF FLESH  by Catarina Miranda

Scenic construction from the relation of a space and a body that inhabits it. The mediating place of this zoomorphic transposition, is crossed by movement and air, where an object, a skin, subject of a metamorphosis process is impregnated with life, generating a state of vitality. Process that follows the study about Japanese Folklore and Classic Dance Theatre (Aomori, Buyo and Noh) combining cosmology with gesture vocabulary along with the occupation of “enclosure” spaces, revealed by the relation between light and shadow on stage.

Concept and  Performance _ Catarina Miranda/ Music Composition _ Jonathan Uliel Saldanha/ Collaboration: Jonathan Uliel Saldanha, André Soares, Keiko Yamaguchi. Developed and presented within the scope of “Dance Box Program 2013″ (Maizuru/Kobe _ Japan)/ Support: Flocks&Shoals, Torindo/DanceBox, A Sala, Curator’s Lab, N.E.C, Soopa Collective, Dock11



by Heather Schmaedeke

by Heather Schmaedeke



Flocks&Shoals Performance Art Collective

Catarina Miranda

Inwhiteout / André Soares

Dock 11 Berlin

Berliner Schaubuühne

Premiere “Der Tod in Venedig/Kindertotenlieder” by Thomas Ostermeier

After presenting the piece at the Festival Mettre en Escène 2012/ Thèâtre National de Bratagne, finally comes to Germany the next creation of Thomas Ostermeier / Schaubühne Berlin.

Come!! I wait you at the Theatre!!


Der Tod in Venedig/Kindertotenlieder

after Thomas Mann/Gustav Mahler
A Version by Maja Zade and Thomas Ostermeier
Direction: Thomas Ostermeier
Premiere in Rennes on November 10th, 2012
Premiere in Berlin on January 12th, 2013


The writer Gustav von Aschenbach is consumed by wanderlust. He travels to Venice in the hope of freeing himself from work regime. When he encounters the fourteen-year-old Tadzio, Aschenbach is consumed by an unprecedented passion. In the boy Aschenbach believes he has found the embodiment of his artistic ideals. Soon, however, the yearning for youthful beauty is transformed into a wild and deadly obsession. Thomas Ostermeier’s production is an experimental arrangement: a narrator, a pianist, a video artist and a group of actors and dancers approach the subjects of erotic passion, physicality and transience which are at the core of Thomas Mann’s novella. The inner drama of the aging man finds its musical counterpart in Josef Bierbichler’s interpretation of the »Kindertotenlieder« by Gustav Mahler – Thomas Mann’s inspiration for the character of Gustav von Aschenbach.

Coproduction with Théâtre National de Bretagne in Rennes.

Direction   Thomas Ostermeier

Choreography   Mikel Aristegui

Stage   Jan Pappelbaum

Costume   Bernd Skodzig

Music   Timo Kreuser

Video   Benjamin Krieg

Dramaturgy   Maja Zade

Light   Erich Schneider

Sound Direction   Daniel Plewe



Bernardo Arias Porras

Josef Bierbichler

Martina Borroni

Marcela Giesche

Sabine Hollweck

Rosabel Huguet

Leon Klose/Maximilian Ostermann

Felix Römer

Kay Bartholomäus Schulze

Piano/ Timo Kreuser

Photo/ Roger Rossell



12.01.2013, 20.00 h

13.01.2013, 20.00 h

14.01.2013, 20.00 h

15.01.2013, 20.00 h


23.02.2013, 20.00 h

24.02.2013, 20.00 h



More information here!

Berliner Schaubühne


Last Training session 2012 “Abandon all now”


Due to upcoming professional projects, the AAN training will discontinue its regularity from January 2013 on.

In the future, the training will take place only at some specific dates. The exact dates will be announced via mail, Tatwerk website or Facebook.
If you want to receive information for the next appointments, just drop a line under:


Last training day:

TUESDAY  11 / 12 / 2012



Throughout history, dancing has been used as a component of rituals, including initiation rites, where dancers used a combination of animal costumes and an adaptation of animal movements and gestures. This practice led to a close relationship between the human being and his totem animal, or even identification with the primitive animal – creating an authentic relationship between man and nature, giving the chance to reach a state of higher consciousness. During ritual celebrations, dancers and singers are both participants and spectators of the ceremony. It is because of the group that the ritual takes its full expression and meaning.

According to Patrice Pavis, theater today has a strong sense of nostalgia for its ritual origins, perhaps because western civilization is no longer seen as unique and superior and has opened its horizons beyond European cultures, to places where ritual still plays an important social role. The theater, after breaking away from the sorrow and trouble of the ritual and ceremony, is now desperately trying to return to its origins, as if this sacred form of theater is its only chance of survival when faced with the industrialized mass arts and the electronic tribe.

My thoughts are more focused on physical performance and the need to find experiences of authenticity, honesty: within human relationships, with ourselves, our personality, the space around us, and what we are on stage.

To venture into the research of this global awareness, this training is based on basic parameters provided by the practice of Body Weather. A deep relationship between the body and the space it inhabits is established, as well as with the constant changes both experience.

We work on issues such as discipline, precision, concentration, rhythm, coordination, awareness, resistance, availability, and presence, among others.

The way in which we reach our goals is through the exploration of our personal physical limits. The purpose of ceremonial rites is to be able to connect with the animal within us – primitive, instinctive, and sometimes unconscious. Our limitations act in the same way – they are complex, multidirectional – and to train our attitude towards them gives us autonomy, authenticity, and a more highly developed consciousness.

The individual task is to confront one’s limits in order to deepen and turn one’s body expression into a more clear and specific language. But there is a common task: to exercise the possibility for co-penetration within the group, understanding common rhythms and energies, and how they develop in a specific situation – our personal territory. Working on group consciousness helps us to tune our perceptions and feelings of the constant movement and evolution of what surrounds us.

“For me, dance has been a symbol of despair and courage.”
Min Tanaka

The training is open to dancers, actors, movers, performers, and all those who have an interest in exploring their physical skills.


Rosabel Huguet


10h – 13h

First Try: 5€
Single Session / Drop in: 8€
Professionals: 6€
Tatwerk students: 4€

– Language: English  |  Deutsch
– Level: open to all levels
– Physical demanding: High
– ich@rosabelhuguet.com


[rück] blick


With this work we want to talk about a reality that belongs to us.

Starting from one of the poems of Hasan Özdemir, we reflected on what have meant, for us, arrive to Germany and all what we have left behind.
We separate these two universes limiting them in: inner space and outer space.

The photographs symbolize the inner space, they are part of what we are and belong to the country in which we have grown. Now we left all that behind, but lives on us as a memory. Over time, the memory can become very ephemeral and fragile. That’s why we have chosen to build the photographs on paper.
At the installation, the photographs are distributed as a physical “wall” to represent the concept of “heimatmauer” witch Özdemir named in his poem IV on the book Windzweig: ” nur der gedanke hing an der heimatmauer”.
We also worked on that allocation because for us, it’s important that visitors walk among the photographs and experience the feeling of going through layers. As a sort of time travel that leads us to our current reality.
That trip is what we have tried to do during our process of creation and also our families have been part of, helping us to select the images.

The outer space is represented by the video. During this residency period at  Wortwedding, we have been related with the place from the contemplation.

When we were reconsidering the project, we looked a lot through the window and a huge stage full of information began to manifest. We realized that we had in front of us, a small particle of our present.
The important thing on the video is not what is happening, because everything happens in an accidental and unexpected way, the important thing is that it builds our gaze through which we understand the place we’ve come.

“und sie lernten

träumen um zu bleiben


in neuem land”


Vicent Gisbert & Rosabel Huguet



wortwedding – Laden für Poesieprojekte

Prinzenallee 59, 13359 Berlin (U8 Pankstr.)

Tel: 0170 3872906



29. June 2012, 19-23h

30. June 2012, 14-18h

01. July 2012, 14-18h


Pictures of the Event

by Roger Rossell



by Roger Rossell

New pictures from the piece “Trembling Walls”

Here some new pictures from the piece Trembling Walls, the last producction of the company Kim and directed by Elias Cohen.

I would like to thank to all the people and friends who came to see us and the great support of the entire team of Mica Moca.

Thanks for all the comments, critics and nice words!

Performers: Richard Schnell, Rosabel Huguet, Roxana Valdez, Stephanie Scheubeck and Vicent Gisbert

Assistance and Sound Design: Se-Rok Park

Light Design: Roger Rossell

Photos 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 _ www.micamoca.org _ and will be directed by Catarina Miranda/Flocks & Shoals Collective.

The first meeting will be held in Theaterhaus Mitte _ http://www.thbm.foerderband.org _ 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 flocksandshoals@gmail.com.

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.


Widersprüchliche Abende im Rauchhaus

I’m presenting a small “work in progress” during the Contradictory Evenings. It will be a short fragment of the catalan poem Coral Romput wrote by Vicent Andrés Estellés.

The poem is recorded by Ovidi Montllor (voice) and Toti Soler (guitar accompaniment).

I’m exploring how our memories are distorted after idealize images, situations or people that have meant something in our lives.
The sensuality of memory: Dominique.

The Contradictory Evenings are nights of Cabaret that talk about a particular topic. This time: sensuality.
We call these evenings so “contradictory ” because although the issue is common, each participant shows a different view of it, different interpretations, different opinions which sometimes contradict each other.
There will be performances, concerts, installations, videos, poetry, theater improvisation, and even karaoke!

The Evening will take place on the 15th of April at 20:00h.

Free entrance!

Place: Keller of the Rauhaus.
Die SpukKommune
Rauchhaus e.V.; Mariannenplatz 1-a, Kreuzberg, Berlin.
U-Bahn 1 oder U-Bahn 8 (Kottbusser Tor)
Bus 140 (Mariannenplatz).




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

Mail: info@tfk-berlin.de


Other information: