Festival of Live Art
18. - 21. March 2010 - ACUD Theater, Berlin

Lan Hungh (China)



The piece challenges the definition of live act and make the expectation of performing art more vague. Rules are made for game playing, everybody is performer and nothing is between audience and artist’s experience.


Dovrat ana Meron and The creative spirits of revolt (Israel)



Self reflecting theatre became a convention.

The Post dramatic era introduced Performance art to the conventional theatre, underestimating performance Art subversive nature.

In “Performance Heart” I enter a dusty space that someone insists to call Theatre and claim back some dramatic moments.

“All generalizations are false, including this one” R. H. Grenier

Text: Play Rights (The writer of the bestsellers “cliché” and “the endless citation”)

Dramaturgy: Funny Lacht and The Comic Relief

Stage design: Site Specific

Choreography: unjustified movements Cie.

Light: Sunshine

Music: dj Summertime

Visuals: and the living is easy

Sponsored by Hearts without fear e.V.

Scientific support: Wickedpedia and Googleheim.


Christina Kyriazidi (Greece)

Theater Performance

2047 SEC.

2047 sec is a physical theatre performance by Christina Kyriazidi. It lasts 2047 seconds (=34min) and it is an etude over the notion of Time.

Using a poetic language and a circular narration, it hopes to question the fundamental objectivity of Time, through the performer’s body in space.

Inside a universe of endless clock ticking and thousands of empty envelops, one body, trapped in the condition of waiting, denies the passing of Time.

Inside the frame of PLOT in situ live art festival in ACUD theater, the performance takes an extra dimension, confronted with the idea of Theatre Time and Theater itself. The past and the present are confused on stage, the technical setting of the show becomes theatre, while the theatre performance acquires a non-theatrical experience for the spectators. Inside a theatre space, a theatre artist questions the theatre time through a theatre piece. Theatre inside theatre- in order to break the conventions of theatre.


Hilla Steinert (Germany)



with Akemi Nagao, Carolin Fürst, Christina Kyriazidi and guest

We enter life.

We leave life.

In between we walk our way.

We all move.

We get moved and always there is something moving inside of us: our heart beats, we breath.

Everything is connected and depends on each other.

Every movement we do creates a new one.

The space gets entered, tightly woven. Nothing stays like it was.

Everything is moving, steadily changing.

Rita Manuel (Portugal)



Two voices in dinstinct territories forward and rewind in dissonant ways.

The boundaries get larger and a common territory is reveal.

The humanity stay alert to the round space upon their heads, a space of freedom where can be no boundaries.

Six hundred eye balls (Canada/Germany/Spain)

Theater Performance


The recipe for success: conspiracy theories, statistics, propoganda, dance choreography and a red carpet. Using the tools of the trade, Six Hundred Eyeballs set the record straight, once and for all, over everything you ever wanted to know about Germany, America and beyond. Six Hundred Eyeballs have discovered the perfect formula for a successful performance-comeback and through discussion and example will share with the viewing public this formula

Language: German and English.

From and with Sarah Goody, Daniel Hinojo and Alexander Schroeder


Andrés Galeano (Spain)



Performance-Video for a black cube!

A performative reflection about theater and video.

A finger-performance about representation of representations of …

Birds birds birds.

The differences between theater, performance art and video art.

Point point point.

In Andrés Galeano's pieces, space, audience, objects, actions, time and his body are the elements that compose consciously the work. He plays with the performance as a social moment and subvert its conventional structures and rules provoking directly the audience. The documentation of them is included in the concept of every piece of work, searching new ways and methods to document performances.


Marcio Carvalho (Portugal), Satoshi Morita (Japan)

Installation Performance


"For the 2nd time I am in a position where I have to remember myself, as an artist and as an individual that is influenced by different kinds of environments. Working the Theater in site-specific means that I should let behind acting, that can exist as well in my work. But not here, not now, not because i am in a theater."

Coming from Visual arts, Marcio Carvalho creation, in the live art context, is always based in images that doesn't aspire to be understood in a linear narrative. "The aim is to afect the public by creating an image that each one can create is own interior time narrative".

Marcio Carvalho in this particular piece will work with Satoshi Morita. Satoshi works in the field of Sonic Art. Beside constructing the physical space with Marcio Carvalho, Satoshi Morita will create the audio circumstances in a constant development of space and movement.

I constructed a form for Satoshi, Satoshi was listening this form, I was looking Satoshi, both were living a real process of construction in a acting space named Theater.



Jörn J. Burmester (Germany)

Performance Lecture - An unauthorized autobiography of Performer Stammtisch.


The play juxtaposes two performative coming-of-age-stories. Jörn J. Burmester is trying to remember his first aesthetic infatuation with the theatre, and its gradual crumbling from ages 14 to 28, roughly 1976 to 1990. But something remained, still live. And so the emergence and coming of age of Performer Stammtisch remains to be reported, 2003 to present.