Lento Violento | Saving Flowers - Double Bill
The performances Lento Violento and Saving Flowers take place as a double bill. The performances will be shown one after the other, with a break of 30 minutes. When you buy your ticket, you will receive a combined ticket with which you can attend both performances.
Lento Violento
As part of Tanztage Berlin 2026
Dance, Performance
Festsaal
No language
Ca. 45 min.
Lento Violento begins with liscio, the traditional Italian couple’s dance, using its swaying rhythms and sliding repetitions for exploring delay, tension and endurance. The lento waltz becomes a slowed-down study of suspension, where movement stretches toward its own breaking point.
Inspired by the myth of Orpheus and Eurydice, the performance moves between darkness and light, impulse and restraint, revealing the emotional charge of what remains hidden – what can be sensed but not fully seen. Two performers navigate spirals, turns, unison, and solitude, building a physical dialogue of closeness and fatigue. The body becomes an instrument that sweats and trembles, suspended between pleasure and pain. The devil appears as icon and metaphor, a playful yet unsettling figure that destabilizes notions of good and evil, seduction and fear. Lento Violento reflects on endurance as a poetic state, a dance that resists resolution and lingers in desire.
Choreography, dance: Elena Francalanci
Dance: Ewa Dziarnowska
Music: Andrea Bambini
Set design: Andrea Belosi
Light design: Bianca Peruzzi
Dramaturgical support: Polina Fenko
Outside eye: Virginia Valeri, Chiara Bartl-Salvi
A production by Elena Francalanci in co-production with Sophiensæle. The 35th Tanztage Berlin is a production of Sophiensæle. Funded by the Senate Department for Culture and Social Cohesion. With the kind support of Tanzfabrik Berlin e.V., Theaterhaus Berlin and HZT Berlin. Media partners: Berlin Art Link, Missy Magazine, Rausgegangen, Siegessäule, taz.
Saving Flowers
As part of Tanztage Berlin 2026
Dance, Performance
Festsaal
English
Ca. 35 min.
“…When someone sits in the middle of a rocket attack and only paints flowers, one might think that the war has had a strong effect on them. In reality, however, this person is searching for something that doesn’t exist – they are moving within a contradiction.”
— Bahram Dabiri, Iranian painter
On the ruins, where the boundaries of things are crossed and intertwined, and where all their former definitions are nullified; where these mutilated remnants become a collective graveyard in solidarity with one another; where blue has turned yellow, green has become brown, and gray red — there stands a vase filled with many fresh, vividly colored flowers. They are there to camouflage the ruins. They are there to prevent the destruction of the eye. They are there to deny this plundering of life.
How does a person perceive this absurd collage? How does this distorted narrative manifest through their body?
Text, Choreography: Pooyesh Frozandeh
Co-Creation, Performance: kiana rezvani
Composition: Marina Lukashevich
Dramaturgy: Azade Shahmiri
Video: Jonathan Kolski, Pooyesh Frozandeh
Light: Robert Prideaux
Costume: id.crisis
A production by Pooyesh Frozandeh in cooperation with HZT Berlin. The 35th Tanztage Berlin is a production of Sophiensæle. Funded by the Senate Department for Culture and Social Cohesion. With the kind support of Tanzfabrik Berlin e.V., Theaterhaus Berlin and HZT Berlin. Media partners: Berlin Art Link, Missy Magazine, Rausgegangen, Siegessäule, taz.
Hallo, ich bin Maya.
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