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Batty Bwoy is a solo which doesn’t start with a question, or a critique, but from a place of play and desire, entangled in violence and charming cruelty. Through a reappropriation of the Jamaican term “Batty Bwoy” (literally, butt boy), slang for a queer person, the work twists and turns the myths of the black queer body, unfolding vulnerable possibilities in an interplay of consciousness and naivety. 

Scrutinizing the absurdity of a queer monstrosity, Batty Bwoy articulates through the porosity of bodies and languages, their mouths swallowing and regurgitating the corporal fictions projected onto their skins. 

In an odyssey of droning prog-rock, Batty Bwoy attacks and embraces sedimented narratives around the fear of the queer body as a perverse and deviant figure. The expression “Batty Bwoy” is used to evoke an ambivalent creature that exists in the threshold of the precarious body, liberated power, joy, and batty energy! The work has found inspiration in mythologies, disgusting stereotypes, feelings, and fantasies of the queer body and identities, homophobic dancehall lyrics, 70s Giallo films from Italy, resilient “gully queens,” and queer voices in Norway and Jamaica that have visited and taken part of the process.

The 9:30pm performance of Batty Bwoy on Thursday 17 October is included in our Bear (AKA Full Week) Pass. Click here for more information about our passes.

Credits

Choreography/Performance: Harald Beharie
Artistic collaborators/sculpture: Karoline Bakken Lund and Veronica Bruce
Composer: Ring van Möbius
Sound designer: Jassem Hindi
Outside Eye: Hooman Sharifi, Inés Belli
Producer: Mariana Suikkanen Gomes
Distribution: Damien Valette

Thanks to: Tobias Leira, Ingeborg Staxrud Olerud, Torbjørn Kolbeinsen and Phillip McLeod

Supported by: Kulturrådet, Fond for lyd og bilde, FFUK, Sandnes Municipality, Oslo Municipality and TOU.

Access

This show contains loud sounds.

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In Untitled (Nostalgia, Act 3) the South-African born, Europe-based choreographer Tiran Willemse invokes his own multiple histories of dance through a kaleidoscope of the 19th century ballet classic Giselle, the Kuduro from Angola, and the Nigerian genre Alanta. The ghost story of Giselle becomes the primary vehicle through which Willemse gives his past selves space to be as they are – ghosts, not dead, who have not left fully, though they may have been asked to. Both an exercise and an exorcism, Untitled (Nostalgia, Act 3) is an evocation of Black experience within European contexts, and a thinly veiled masquerade of its absurdities. As differently gendered bodies claim space for expression, their haunting simultaneously haunts cisnormativity.

What bubbles to the surface may be headless but it’s not shy. The emerging dance is simultaneously a solo by Willemse and an ensemble performed with the unresolved tensions that move him. In limbo between presence and absence, these bodies -rendered invisible, suppressed, (as certain histories often are) invited, or not- have nevertheless come back to reclaim Willemse’s body. These multiple consciousnesses are given the room to rehearse both as and with Willemse, a repétition (rehearsal) with a difference.

The 3:30pm performance of Untitled (Nostalgia, Act 3) on Sunday 20 October is included in our Bear (AKA Full Week) and Otter (Weekend Max) Passes. Click here for more information about our passes.

Credits

Concept, Artistic Direction & Performance: Tiran Willemse
Dramaturgy: Andros Zins-Browne
Music: Tobias Koch
Choreographic Advice: Laurent Chétouane
Light Design: Fudetani Ryoya
Light Operator: Max Windisch-Spoerk
Sound Operator: Thibault Villard
Production: Paelden Tamnyen, Rabea Grand

Co-Production: Gessnerallee Zürich, Arsenic – Contemporary Performing Arts Center, Lausanne 

Supported by: Stadt Zürich Kultur, Fachstelle Kultur Kanton Zürich, Pro Helvetia, Schweizerische Interpretenstiftung SIS, Migros-Kulturprozent

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Zer-brech-lich is a captivating musical dance theatre production suitable for audiences of all ages. In this mesmerizing performance, three talented disabled performers bring to life songs specially composed by Swiss musician Gina ÉTÉ. These songs share a common theme: fragility, explored from both personal and political perspectives. Can fragility be a powerful political statement? Is it possible that fragility possesses a unique power to unite people and act as a catalyst to challenge the false ideals of strength, beauty, and success often perpetuated by ableist societies? How can fragility unite people?

Throughout the performance, the performers answer these questions through a blend of direct, political, and poetic expression, often infused with humour. They dance with their vulnerability, caring for and supporting each other as they playfully construct and deconstruct images and sets. By doing so, they reveal the raw mechanisms behind the creation of ‘illusions,’ aiming to spark the audience’s imagination of a future where diversity replaces the ‘norm.’

Through their dynamic and heartfelt expressions, the performers of Zer-brech-lich invite the audience to rethink societal perceptions of fragility and strength. Their performance is a poignant reminder that true power and beauty lie in embracing and celebrating our differences.

The 2pm performance of Zer-brech-lich on Sunday 20 October is included in our Bear (AKA Full Week) and Otter (Weekend Max) Passes. The 7pm performance on Saturday 19 October is included in our Pup Pass. Click here for more information about our passes.

Credits

Directed and Choreographed: Alessandro Schiattarella
Choreographed and Performed by: Victoria Antonova, Alice Giuliani, Meret Landolt (x Laila White)
Sound: Eugenio Fabiani
Video: Manuel Justo
Voice Off: Linda Wolf
Music Songwriting: Gina ÉTÉ
Musical Director: Richard Schwennicke
Stage Design: Margarete Albinger
Costume Design: Giulia Marcotullio
Light Design: Uwe Wegner
Dramaturgy: Martin Mutschler
Props: Stella Kuprat, Ingmar Mühlich


Zer-brech-lich is the inaugural production of the Jupiter project, co-produced by the Opera and Schauspielhaus Hannover, together with the Theaterformen Festival, in cooperation with the Hamburg Theatre Academy. It is now part of the association cinquantatré based in Basel, Switzerland, and supported by the Fachausschuss Theater und Tanz.

Access

This show has integrated audio description and subtitles in English.