Artists in residence


(working title)


Martina De Dominicis/ Alberto Cissello/ Lorenzo Romano


18. August - 2. September 2018


Public Showing: 28.08.2018, 18 h,Studio 5, Tapetenfabrik, Auguststr. 10, Bonn


Starting from a physical research represents a necessity to go back to the simple body presence and its stunning meaningfulness by simply being, in a moment where common tendency is to decorate.


The first studio of “Yet to be born” took place in Vienna, in November 2017. It’s a research that started from exploring the resonance of the body presence in time and space, focusing on action rather than intention, on the physical gesture rather than its meaning.

Therefore different composition tools were used to experiment on the variety of movement qualities. Rhythm related tasks for example were largely explored to modulate dynamics, and create a landscape where the body is constantly waiting for the right moment to get into action. The simple action of BEING still and balancing this potential energy trough time and space, is creating tension and expectation in the viewer.

This brings the research to another level: trying to modify the way a viewer can perceive the time flow. And by exploring the task of extending or compressing time, the outcome is a sense of distortion, which gives to actions  an interesting touch of absurdity. Images rather illusive keep appearing and dissolving, generating a sense of surreality that doesn’t allow the observer to catch a clear interpretation of them.


Lorenzo Romano (Florence, 1985) studied composition and electronic music with Beat Furrer, Salvatore Sciarrino and Marko Ciciliani. His music is focused on transcription and elaboration connected with new technologies. His compositions have been played in Europa and America in many Festivals and they have been awarded in several international composition competitions. He works regularly with dancers and choreographers: in the past years he developed a collaboration with the dance company of the Graz Opera, composing original music for contemporary dance pieces.   He’s founding member and composer in residence of Schallfeld Ensemble. - More info:

Martina De Dominicis (Pescara, 1989) started in early age training ballet technique in Pescara and later in Rome and Florence. Since 2010 she started to work as dancer in several companies: Junior Balletto di Toscana (IT), Balletto di Milano (IT), Oper Graz Tanzcompanie (AT), Stadttheater Pforzheim (DE) and From  2016 she started collaborating with CocoonDance Company (DE/CH). In 2014 she choreographed a short piece (“Next?”) for the OperGraz ensamble. Ultimately she is in the process of creating her own piece, and she works for MAA* Kulturverein In Vienna as choreographer and physical coach for the actors.

Alberto Cissello (Asti, 1989) is an Italian freelance dancer and dance teacher currently based in Vienna. He receives his education in Torino in hip hop, ballet and contemporary dance. Since 2009 he has been working as a dancer both in Italy and abroad: Compagnia EgriBiancoDanza (IT), Oper Graz Tanzkompanie (AT), ConTrust Collective (DE) and cieLaroque/Helene Weinzierl (AT). Meanwhile he created solo pieces which have been performed in Italy (1st prize Solocoreografico choreographic competition, Turin; Miniatures Festival, Perugia), Austria (Oper Graz) and Germany (Essenziale Festival, Essen). As a teacher he has held workshops for IGTanz Steiermark (AT), Divadlo Štúdio Tanca Festival (SK), Festival Spectrum (Villach, AT), tanzimpulse Salzburg (AT) and Universidad Nacional de Heredia (CR).





Amando Romero / Greta Salgado


06. - 17. August 2018






The body can be seen just as biological matter. Before us, there is the first cell, combined by an egg cell and a spermatozoon. The first step towards our independence has been made. The cell divides itself and each half divides itself over and over again, with great ambition. Almost already celebrating life and what we like to call freedom. This is how we are born, by a random process that very determined aims to create life. Isn't it so absurd and strange? Maybe even eerie? One afternoon, when we were asking ourselves these questions, we felt like a tumour. We felt our bodies as if they were tumorous matter, so unpleasant and extravagant. We are an alienation of what we think we are, of our existence, of our bodies. Our bodies, which are growing from the sickness of the formation of life, of biological matter. Doesn't life and all the problems we create, all the needs we develop, all our feelings and desires, sound so absurd?

We developed these thoughts from the idea of "the body as a nervous matter", that is craving to feel something intense, something that calms those nerves to feel alive. We took that idea from the book of Tristan Garcia "La vie intense : une obsession moderne", which was the starting point for the first version of our concept.

A video which visually describes our images is "order from chaos" from Maxime Causeret:


We mainly want to work by creating images that transmit the alienation of life creation. As you can see in the video which is linked below, we use both our bodies to create one single functioning "thing". Partnering techniques will be our tools to do so, by using lifts and contact points to create the illusion of a strange creature that forms and deforms, similar to the effect that the video animation of Causeret does. Apart from that we will use also single bodies, to play with the separation and fusion of cells. To create these effects, we will most of the time work with an outer eye and invite people to watch and comment our rehearsals.


Video material: Performance of the first phase of Incubator Residency (Filming and editing: Maurits Boettger):



Özlem Alkis

24. Juli - 6. August 2017 


Reverbs Aufführungen: 24./ 25. November 2017, Theater im Ballsaal, Bonn



„I am interested in creating trans-disciplinary formats in which my understanding of movement and dance would evolve in unforeseen directions through these collaborations. For that reason, I choose my partners for each piece according the necessities of each topic. Our exchange starts with getting to know each other’s practices and sharing each other’s methods.


I find it important working with the same group of dancers, so that our shared history in building common praxis and language for each piece could be developed further (accumulate) in dancers’ body. In doing so, we can understand better what kind of knowledge that each mover carries in her own history and develop strategies through.


Building shared history (building praxis and language) helps me to recognize what do we know “doing” and what we do not yet know. “The unknown” makes me excited. Something that is not yet imagined, something that cannot be imagined. Something that appears only through shared process of praxis through the conscious and unconscious exchanges between participating (collaborating) artists. 

This is why I am interested to create zones of “unknown” that are also “unstable” during the rehearsal processes that one can question further one’s own understanding of dance, movement and aesthetics. I could say that this is beginning of composition; to shift and slightly alter what do we already know about the things.“ (Özlem Alkis)  


Özlem Alkis creates transdisciplinary formats and present her works in various mediums; stage, installation and video. She was born in Istanbul and lives now in Cologne. She is one of the co-founders of the Amber Art and Technology Festival in Istanbul, which she also co-directed until 2012. In 2012, she directed Istanbul edition of Special Issue European Project that encourages developing discoursive practices in Performing Arts. In September 2015, with other artists she founded ehrenfeldstudios e.V., Cologne.



Rhiannon Morgan & Andra Rama

18. - 24. Juni 2017 


Public Showing: 24.06.2017, 18:00 Uhr, Tapetenfabrik

Aufführung: 20.04.2018, Theater im Ballsaal

im Rahmen von INTO THE FIELDS 2018


Project “3,14π” proposes a new and developed idea of Dance through Running. Starting from the notion that to Run is a natural thing which also holds a potential to be developed as movement in general. Run, as a simple every day movement which would result in a direct impact with the audience. A movement that is familiar to each of us. The process of a circular Run in an anti-clockwise direction imitates the set up of races. Our observation is that our minds tend to interpret that "run moves right to left", so we perceive right to left movements (as viewers) as more natural and assimilate easier with our eyes/minds. How direct and simple can the impact of a Running process be in terms of human participation and observation? A process that requires a full body presence. Creating a certain tone and rhythm that colours the actual space and the ways we relate to self, the other and to the rest of the environments. A process of building our rhythms as second by second/minute by minute we organise an addictive ritual that opens all possible pathways. The varying textures and density in each footprint as the sole of the foot comes into contact and leaves the ground tracing a sound signature with steps and breaths. Our breaths and steps becomes the physical soundtrack. What can we build emphasise/ develop and challenge with the sounds of our bodies?


No matter our speed, style or where we start, we end up in a place where we still will be running. Adapting, staying flexible and merging all sources of inner or outer input, “3,14π” proposes an investigation in equal terms of physical condition/precision of movement vocabulary which by reacting/listening awareness creates a strong kinaesthetic impact. Everything we do through running inspires, guides and reminds us how vital it is to be active, each decision a responsibility for the environment we wish to create/inhabit. The environment/space of the run and its ability to connect us all directly to the sense of freedom it generates as we Live, Work and Run as part of the Global Community.


Rhiannon Morgan completed her studies at the age of 17 in the Conservatory for Music and Dance of Luxembourg. She sings and play violin. She graduated with a BA from The Rambert School Of Dance and later on completed her Masters degree at London Contemporary Dance School (2009/2010), The Place (UK). As a professional dancer she collaborated with Akram Khan (2012), Cocoon Dance Company(2010/2012), Henri Oguike Dance Company ( 2011-2013), Nicholas Vladyslav (2013), National Theatre of Northern Greece (2013/2015) and Anu Sistonen (since 2011/2016) to name a few. For the last 6 years she has been teaching workshops all over Europe and has been collaborating with Andrea Rama in several on going projects as well as assisting him during various workshops and classes for professional dancers.


Andreas Rama has graduated from the State School of Contemporary Dance in Athens (GR). He's co-founders of Porson's Khashoggi since 2010. The company works intensively with the dimension of time as a fundamental element of movement. The audience is invited to participate in rapid journeys and slow travels around the performance. P.K. creation's has been presented in Germany, Luxembourg, France, Italy, Poland, Greece & China. Andrea colaborated with contemporary dance artists & theater directors such as Sasha Waltz & Guests (since2013), Anton Lachky(2011), Fang-Yu Shen (2014), MS Schittmacher(2015), Roes Dance Theater (2009), K. Rigo (2008), Antzela Brouskou (2011), Gianni Kaklea (2012) to name a few. In 2014 Wim Vandekeybus invited him for research process. He's teaching at Dance Companies/ Institutions as National Choreographic Center of Luxembourg, Henny Jurriëns Foundation (NE), Tanzfabrik Berlin, Marameo Berlin, Die Etage, Seneca Intensiv, State Theater Heidelberg, Equilibrio Dinamico (IT), TanzBüro Basel, Centrum Kultury Lublinie & Szczecin (PL), Austria, Aktina Prof School of Dance (GR), Minsheng Contemporary Museum (China), ZKM Museum of Media Art (DE), HFG University of Media Arts (DE)  a.o. 



Tian Rotteveel                               


in Kooperation mit ZAIK Köln                            

10. - 17. Dezember 2015         


Premiere: 11. Februar 2016, Sophiensaele Berlin

Aufführungen: 12./ 13./ 14. Februar 2016, Sophiensaele Berlin 


HEARTCORE ist ein performativer Forschungsraum für den körperlichen Ausdruck menschlichen Klangs: die Vorbereitung, Ausführung und der Nachhall von Lauten im Körper. Die Performer_innen schlagen einen Klangpfad ein, folgen eigenartiger Musik und eignen sich auf ihrem Weg Fantasiesprachen und klingende Mantras an. Zwischen aktivem Zuhören und dem Erzeugen von Live-Musik orientieren sie sich an immer neuen Strukturen und schwingen mit ihnen durch den Raum – bis ins Innerste des Herzens.


Tian Rotteveel hat am Koninklijk Conservatorium Den Haag (NL) Musikkompo- sition studiert, Tanz an der SEAD (AU) und studiert derzeit Choreografie am HZT Berlin. In seiner Arbeit ist Klang ein Prozess, der sich in Musik, in Sprache, aber auch bloß in schiere Empfindung materialisieren kann. Tian hat u.a. zusammengearbeitet mit: MAE-Ensemble, Rosa Ensemble, Igor Dobricic, Diego Gil, David Zambrano, Jeremy Wade, Lea Martini und Kristina de Châtel.



Sung-Im Her 


im Rahmen der Tanzrecherche NRW #17                

28. September - 15. November 2015


Public Showing: 14.11.2015, 17:00 h, Theater im Ballsaal - Eintritt frei 

Aufführungen: 12. (Premiere)/ 13.10.2017, Theater im Ballsaal

im Rahmen des 6. Internationalen Bonner Tanzsolofestivals 


During NRW tanz recherche period, she interviewed Korean immigrant workers who moved here more than 40 years ago. The question was if and how they are integrated in the society. Where is home for these people uprooted

their origins? In a world in which new generations live as global citizens these questions are particularly important. What does home mean? Is it possible to find a new home? And what does it mean to be a stranger?


Sung-Im Her studied contemporary dance at Han-Sung University in South Korea where she achieved Master degree as. Then she moved to Belgium in 2004 for choreography studies (2nd cycle) at P.A.R.T.S. After graduation, she has been working with Jan Fabre/Troubleyn, Les ballets C de la B, Needcompany and Abattoire Ferme. In parallel since 2011, she started to develop personal work as well. “You are Okay” is her 5th collaboration work.  

Currently she is selected to be part of “testbeds catalyst co-lab”, a research & development programme supported by the University of Bedfordshire, Arts Council England and Luton Culture. She is working work both with university students and the local community, teaching workshops, and researching and

choreographing a dance piece focusing on immigration and global citizenship. -


During her time at the RCA, where So-mang Lee completed a Masters degree in Communication Art and Design Somang developed a unique way of working to seamlessly blend visuals with music. She creates innovative performances combining shadow puppetry, animation and multimedia technology. These are projected onto the big screen to become a fully immersive experience. Somang have been collaborating with musicians, film and theatre makers.  -


Tanzrecherche NRW wird gefördert durch: NRW KULTURsekretariat Wuppertal



Werner Nigg 


im Rahmen einer Koproduktion mit dem NRW-Mittelzentrum Bonn                       

24. August - 28. September 2015 


Premiere: 14. Oktober 2015 // 20 Uhr // Theater im Ballsaal

Weitere Vorstellungen: 15./ 17. Oktober 2015 // 20 Uhr


SCATTERED LUNGS ist ein Stück über die individuellen Wünsche und Vorstellungen von einer Zweisamkeit, einer Partnerschaft oder einer zwischenmenschlichen Beziehung in Zeiten von Tinder, Scruff und Elitepartner; in Zeiten der vielfältigen Optionen auf der Suche nach Wärme und Geborgenheit.


Werner Nigg, im Schweizer Kanton Graubünden aufgewachsen, folgte nach seiner Ausbildung an der landwirtschaftlichen Berufsschule seiner Tanzbegeisterung und studierte Zeitgenössischen Tanz an der ZürichTanzTheaterSchule und an der Codarts University for the Arts Rotterdam. Seit 2003 arbeitet er mit

verschiedenen Compagnien u.a. in Belgien, Österreich, den Niederlanden, Dänemark, Frankreich, so mit Daphne Verhelst, Willi Dorner, Cie Ah mon amour, Jean G. Weis, Ryckewaert & Verhelst, Mancopy, CieThor und in den letzten beiden Projekten mit CocoonDance. Seit 2002 choreografiert er eigene Stücke.


Choreografie, Idee: Werner Nigg // Performance, Tanz: Tanja Marin Friđjonsdottir // Dramaturgie: Judith Ouwens // Musik: Samuel Reissen // Kostüm: Constanza Friedrich


So 10. März 2019 //

14 – 18 Uhr,

Theater im Ballsaal

Manolis Tsipos 


(Workshop in englischer Sprache)

Fr 15. März // 20 Uhr 

Theater im Ballsaal



Sa 16. März // 20 Uhr 

Theater im Ballsaal



So 17. März // 18 Uhr 

Theater im Ballsaal



So 17. März, 20 Uhr

Brotfabrik Theaterwerkstatt

MIRA / Julia Riera

MIRA 6_89˚

Fr 22. März, 20 Uhr 

Theater im Ballsaal

David Hernandez + Collaborators 


im Anschluss 

DJ-Set Zoë McPherson