This is an inavoidable space. You can not, but come in, if you want to go somewhere else. You position yourself, to have been here. You posit- but what do you deposit? What do you leave? What are the traces, that account for your elapsing presence?
The new 5£ bills are made of sebum, to make them more durable.
Are you willing to cut off a part of your skin, to for once come closer, away from the others? Or does a decision bring you closer together?
*PEAUCISIONS* reminds of the responsibility of the spectator for a performance to happen. It takes shape in accordance to the people engaging with it; growing with collectivity.
Yet, happening simultaneously in 2 places, it is never seen entirely by someone else than the performer (in Brazil).
It will haunt its spectators, only to be presented weeks after the festival.
Born 1993 in São Paulo, Nina DeLudemann moved to Berlin with 11, where she learned German as a 3rd native language. As so many in our globalized society, she faces the challenge of learning how to be at different places at once.
Inspired by the rethinking of departing somewhere to arrive somewhere else, she asks:
How can translation be regarded as a proper language, a space, rather than a mediation in between dualities?
She studied economics and scenography in Berlin, where she graduated 2017 from UdK Berlin.
Working as a scenographer, performer and scriptwriter her questioning of transition exceeds the linguistic realm. She co-founded and has been working since as a member of the Berlin music-theater collective Mann-aus-Obst, challenging professional identities.
In March 2020 she will be working as a scenographer with the play-writer and theater director Anis Hamdoun at the theater in Koblenz.
Since 2018 she lives in between Berlin and Gießen where she studies choreography and performance at Justus-Liebig-Universität.
Lucas Prado is an actor based in Porto Alegre/Brasil. He has participated in acting courses and workshops since 2014 with companies such as GrupoJogo and Teatro Sarcáustico. His recent acting work includes the plays from 2017’s ‘As Trevas Ridículas’/‘The Ridiculous Darkness’ (by Wolfram Lotz, directed by Alexandre Dill), 2018’s ‘Tremor’/‘Noise’ (by Maria Milisavljevic, directed by Lucca Simas) and the 2018’s street performance ‘Andorra’ (based on the play by Max Frisch, directed by Nina DeLudemann), in cooperation with Goethe Institut.