program

from 4 years

Drunter und drüber is a story about friendship and the power of fantasy.Two friends discover a treasure map during a pillow fight. It leads them into a fantastic world. A wondrous, adventurous treasure hunt unfolds before the audience’s eyes, without any spoken language.

In collaboration with three dancers, miu has developed a scenic lecture that forms the fifth instalment within his “Ex” series: A landscape of acoustic, literary, and choreographic elements. miu invites the audience to a shared journey based on the examination of in_visibility, therein creating a language that involves visually impaired people.

from 4 years

Drunter und drüber is a story about friendship and the power of fantasy.Two friends discover a treasure map during a pillow fight. It leads them into a fantastic world. A wondrous, adventurous treasure hunt unfolds before the audience’s eyes, without any spoken language.

from 4 years

Drunter und drüber is a story about friendship and the power of fantasy.Two friends discover a treasure map during a pillow fight. It leads them into a fantastic world. A wondrous, adventurous treasure hunt unfolds before the audience’s eyes, without any spoken language.

The 20th century built using exposed concrete, the 21st century builds exposed greens. Hauke Heumann and Jan Lemitz have developed an urban walk that confronts text and imagery with specific locales in urban space.

The 20th century built using exposed concrete, the 21st century builds exposed greens. Hauke Heumann and Jan Lemitz have developed an urban walk that confronts text and imagery with specific locales in urban space.

The table talk gathers artists, scientists, and protagonists from architecture and urban development to discuss current transformations in the relation between cities and the public sphere.

Over the coming months, a group of performance artists, architects, musicians, and engineers from the Rotterdam Presenta performance platform context will construct a new stage in a former garage. The participants will ask themselves, the audience, and outside experts: What should this space look like that determines our gathering?

The FFT Foyer is not only a splendid space to wait for the start of a theatre performance. Starting now, you can also use it to simply meet people here for a drink, gather with friends, letting your day wind down. In May, and by way of exception, we will invite you to the bar on the second Tuesday of the month.

Can it be an advantage to belong to a group that faces discrimination? For some jobs and subsidies, yes. But matters become heated when people from the majority community claim to be part of a group facing discrimination. Is that a case for the courts? Or the online pillory? And what is at stake in the theatre? Four activists discuss these questions in a fast-paced show about the relationship between theatre, court and social media.

A touching evocation of ghosts: using video recordings and precise impersonations created by the young choreographer, three dancers who have passed away are brought back to life – and with them their moving life stories reflecting the freedom of modern dance and the oppression of 20th century ideologies.

Finally – a play about old white men! Featuring two examples of the species and two twelve-year-old girls. Only this time the usual order of things has been reversed. The girls say what’s what and the dudes keep their mouths shut.

Within the dark space stands a brightly lit kitchen with a long table in front of it for the audience. On the menu: four courses together with stories about the hard work in the kitchens of top restaurants. How can the evening be made unforgettable and everyone’s efforts be recognised in equal measure?

‘MI VIDA EN TRÁNSITO’ documents an involuntary return to Argentina and the distress that follows. caruso + avila mould this into an affectionate dialogue about depression and hope that bridges thousands of kilometres of separation and the borderline between the real and the virtual.

A touching evocation of ghosts: using video recordings and precise impersonations created by the young choreographer, three dancers who have passed away are brought back to life – and with them their moving life stories reflecting the freedom of modern dance and the oppression of 20th century ideologies.

Finally – a play about old white men! Featuring two examples of the species and two twelve-year-old girls. Only this time the usual order of things has been reversed. The girls say what’s what and the dudes keep their mouths shut.

‘MI VIDA EN TRÁNSITO’ documents an involuntary return to Argentina and the distress that follows. caruso + avila mould this into an affectionate dialogue about depression and hope that bridges thousands of kilometres of separation and the borderline between the real and the virtual.

Boris Nikitin’s grandmother came from a Jewish family but kept this secret to herself until she died. Her grandson goes in search for the origins of silence. A captivatingly simple and direct monologue.

Can it be an advantage to belong to a group that faces discrimination? For some jobs and subsidies, yes. But matters become heated when people from the majority community claim to be part of a group facing discrimination. Is that a case for the courts? Or the online pillory? And what is at stake in the theatre? Four activists discuss these questions in a fast-paced show about the relationship between theatre, court and social media.

A touching evocation of ghosts: using video recordings and precise impersonations created by the young choreographer, three dancers who have passed away are brought back to life – and with them their moving life stories reflecting the freedom of modern dance and the oppression of 20th century ideologies.

Within the dark space stands a brightly lit kitchen with a long table in front of it for the audience. On the menu: four courses together with stories about the hard work in the kitchens of top restaurants. How can the evening be made unforgettable and everyone’s efforts be recognised in equal measure?

Within the dark space stands a brightly lit kitchen with a long table in front of it for the audience. On the menu: four courses together with stories about the hard work in the kitchens of top restaurants. How can the evening be made unforgettable and everyone’s efforts be recognised in equal measure?

Inspired by the Death Positive movement and based on their own experiences, the collective Henrike Iglesias has created a show about mortality and grief from a consciously young perspective. With two performers and the audience’s telephones in the leading roles.

Inspired by the Death Positive movement and based on their own experiences, the collective Henrike Iglesias has created a show about mortality and grief from a consciously young perspective. With two performers and the audience’s telephones in the leading roles.

A touching evocation of ghosts: using video recordings and precise impersonations created by the young choreographer, three dancers who have passed away are brought back to life – and with them their moving life stories reflecting the freedom of modern dance and the oppression of 20th century ideologies.

Inspired by the Death Positive movement and based on their own experiences, the collective Henrike Iglesias has created a show about mortality and grief from a consciously young perspective. With two performers and the audience’s telephones in the leading roles.

Inspired by the Death Positive movement and based on their own experiences, the collective Henrike Iglesias has created a show about mortality and grief from a consciously young perspective. With two performers and the audience’s telephones in the leading roles.

Street names form a collective history. Cédric Djedje and Safi Martin Yé report on the 40-year struggle to re-name three streets in Berlin’s “African Quarter”. Video interviews with activists, stories of historic events and personal experiences coalesce into a clear political message.

The most important genre of contemporary art is the funding application. In ‘SZENARIO’, this becomes the absurd book for a musical. Four forestry workers in a snowy landscape sing about “activities to achieve their objectives,” their “budget for funding and costs” and their individual struggles with work, poverty and personal fulfilment.

A touching evocation of ghosts: using video recordings and precise impersonations created by the young choreographer, three dancers who have passed away are brought back to life – and with them their moving life stories reflecting the freedom of modern dance and the oppression of 20th century ideologies.

Street names form a collective history. Cédric Djedje and Safi Martin Yé report on the 40-year struggle to re-name three streets in Berlin’s “African Quarter”. Video interviews with activists, stories of historic events and personal experiences coalesce into a clear political message.

On stage the artist can be seen with an empty podium. Orphaned plinths like this are the subject of ‘STEINERNE GÄSTE’ which is concerned with the afterlife of toppled statues – after they have fallen, are they genuinely gone? A production that shifts between a sober lecture and bombastic opera music.

Picking cucumbers, delivering packages, cleaning bloody abattoirs – three performers tell of people from Eastern Europe working in the West under degrading conditions. Repurposed jigsaws and cordless drills create the carpet of sound for this spoken concert.

A touching evocation of ghosts: using video recordings and precise impersonations created by the young choreographer, three dancers who have passed away are brought back to life – and with them their moving life stories reflecting the freedom of modern dance and the oppression of 20th century ideologies.

Street names form a collective history. Cédric Djedje and Safi Martin Yé report on the 40-year struggle to re-name three streets in Berlin’s “African Quarter”. Video interviews with activists, stories of historic events and personal experiences coalesce into a clear political message.

The most important genre of contemporary art is the funding application. In ‘SZENARIO’, this becomes the absurd book for a musical. Four forestry workers in a snowy landscape sing about “activities to achieve their objectives,” their “budget for funding and costs” and their individual struggles with work, poverty and personal fulfilment.

‘There’ is a prose poem by Lebanese-American poet, philosopher, and painter Etel Adnan (1925 – 2021). Written in 1997, during the Yugoslav Wars, it deals with conflict between individuals, societies, and genders. Musician and composer Ulrike Haage transforms Etel Adnan’s poem into an open musical-tonal fabric in the here and now of thinking and speaking, live ‘at, in, and under’ the grand piano and in dialogue with an actress.

‘There’ is a prose poem by Lebanese-American poet, philosopher, and painter Etel Adnan (1925 – 2021). Written in 1997, during the Yugoslav Wars, it deals with conflict between individuals, societies, and genders. Musician and composer Ulrike Haage transforms Etel Adnan’s poem into an open musical-tonal fabric in the here and now of thinking and speaking, live ‘at, in, and under’ the grand piano and in dialogue with an actress.