We are NoFourthWall, a performing arts company created by Adela Bravo Sauras and Anja Stachelscheid in 2009.
As our name suggests, our company was born with a clear spirit of reflecting on the relationship between performers, audience and their position in the performing space.
For our projects, we use a combination of Theatre and Architecture as a starting point, and a wide range of other artistic disciplines (dance, music, philosophy, film, light…) in order to create an unusual environment in which the visitor will find out that it is their level of implication that should shape the final experience making it therefore different each time.
We describe our projects as `Architectonic Theatre´. Adela´s doctoral thesis at the Universität der Künste in Berlin describes this interdiscipline.
We work mainly in Berlin. Our works were shown in different places such as Instituto Cervantes Berlin, Ballhaus Ost, Hebbel am Ufer 2, Mica Moca, Freie Internationale Tankstelle, Acud Kunsthaus, Gallery WortWedding, Prinzessinnengarten, St Christophorus, 48 Stunden Neukölln Festival. Outside Berlin we were as well in Edinburgh (Fringe Festival, Summerhall), Buenos Aires (Bienal Arte Joven), Bucharest (The Future is Feminine, Arcub Center, Teatru Bucuresti), Basel (Schlachthaus Theater), Senigallia (Italy), Rotonda Sul Mare), Madrid (Tabacalera, Sala Triángulo/ Teatro del Barrio and soon Teatro Pradillo and Teatro Municipal), Frankfurt Oder (Tag der offenen Tür, Messe und Veranstaltungs GmbH), Frankfurt am Main (Frankfurt Festival Nachtlichter-Tagträumer), Hüzünfestival, Frankfurt; Festival Theatermaschine (Gießen).
We got prices and scholarships such as the Competition “Performance Architecture competition European Capital of Culture 2012” (Guimaraes, Portugal), Festival Scena Simulacro 2012, Sala Triángulo (Madrid), “Mobile Schwimmende Architektur”, Großräschen-Lausitz: “floating space” (Berlin), 5ª Competition’s edition “Design Beyond East and West“, Hanssem Co. Ltd (Architecture Korean Style category), Berlin Förderung (Fachbereich Kunst und Kultur), Kulturamt in Hessen, “Neubau Bühnen Köln am Offenbachplatz” or Participar.de, Goethe Institut + Instituto Cervantes (Berlin-Madrid).
My Hands. My Mother’s.
20.–24. November 2017 Instituto Cervantes Berlin
What remains of somebody? Twenty-three boxes full of objects lost their owner and those objects have an afterlife. read more
They say memory is a silly dog – you throw a stick to it but it brings back something else. Memories are fragile, sometimes illogical, incoherent, irrevocably incomplete. Yet now, of all that city, I remember only a woman I casually met. There are shadows that surround me, daughter shadows of rigid furniture. They haunt me here in the sun, but they are people. Using these memories is the only way to finish a conversation between two people who will never speak again.
We explore the capacity of objects to recall certain situations. Somehow living is to be other. Seeing is being distant and seeing clearly is to stop. Definitely, to analyse is to be a foreigner. It is as if I found an old portrait, of me, undoubtedly, with a different stature, unknown features, but indisputably mine, dreadfully me. Life is as if we were beaten with it. We will for sure meet again at some party.
Objects, recipeCarmen Sauras de la Llave
Original music and sound designBruno Tambascio
VocalsMalia Bendi Merad, Paloma Lirola
Light design and technicJakob Boeckh
Graphic designVirginia Gutiérrez del Álamo
Film actingSusie Meyer
TextCarmen Sauras de la Llave, Barbara Visnevetski, Rene Char, César Vallejo, Friedrich Nietzsche, Liliane Koch, Adela Bravo Sauras
Text translations and editingLiliane Koch, Dorothee Krueger, Adela Bravo Sauras
Outside eyeJacob Bussmann
Preview rehearsalsFrida Laux (choreography), Dorothee Krueger
Concept participationPietro Righi Riva, Anja Stachelscheid, Alfonso Ruano Canales
MentoringHeiner Goebbels, Philipp Schulte
Performance, ChoreographyLiliane Koch, Adela Bravo Sauras
Concept and idea, stage design and constructionAdela Bravo Sauras
A Transdisciplinary Theatre Labyrinth, Featuring Excerpts from Henrik Ibsen's Dramatic Works
15.–18. Oktober 2015, Ballhaus Ost Berlin
Collaboration is an evolutionary principle or a rigid virtue. Collaboration should amount to more than the sum of its parts. Collaboration keeps a community alive. Is that enough to rely on? read more
The paths through the labyrinth of IPSAGON create spaces for collaborative communities to emerge. Individuals encounter challenging or welcoming circumstances, groups, and languages as they try to develop something collectively. They’ll be integrated or rejected, sometimes they’ll hesitate to step in. How great is our individual capacity to subordinate ourselves to the traditional order? Can a social architecture succeed in integrating any individual? Every room in the labyrinth asks both questions: Who is a legitimate misfit? And: Do you fit in?
Through the dramatic work of Henrik Ibsen and inspired by Joachim Bauer’s evolutionary biology of evolution, we have retraced these conflicts. We find individuals who cling passionately to their ideals to advocate social progress. But such progress might also destroy the community. We find women who are strongly supported by their communities – but only if they accept their predefined role. Collaboration is supposed to be the basis of society. But what happens if it damages our freedom?
IPSAGON is a labyrinth and an experiment. IPSAGON investigates the capacity of every individual to form a community of bodies and ideals together with others. Spectators have the choice to observe the process of adaptation from the outside, or to experience it first-hand through film, philosophical dialogue, playing, acting, listening, eating, and mixing it up themselves. They have the choice to fight for freedom – with or against each other. At IPSAGON there’s only you, the other, and the observers, deciding to build or to reject a community of misfits.
Video documentationJulia Novacek
Graphic designHirn Faust Auge
Costume designFrank Salewski, Alisa M. Hecke
AssistanceJosep Maria Comas (production & technician), Danielle Fagen (construction & costume)
LightAnja Stachelscheid, Adela Bravo Sauras
InstallationAdela Bravo Sauras (idea & construction design), Thomas Zimmermann (idea), Juan Alfonso Ruano Canales (idea)
ConstructionAdela Bravo Sauras, Julia Novacek, Berliner Werkstätten für Menschen mit Behinderung GmbH
HexagonsJulia Novacek (video, editing, concept, performer); Adela Bravo Sauras (concept, performer)
TextAdela Bravo Sauras, Henrike Kohpeiß
DramaturgyHenrike Kohpeiß, Julia Novacek, Thomas Zimmermann
Concept, strategyAdela Bravo Sauras
Supported byKulturamt der Stadt Gießen, Institut für Angewandte Theaterwissenschaft Gießen, Universität der Künste Berlin
36, A PLOT’S KERMESSE
Ballhaus Ost Berlin September & November 2012
12 theater monologues, 12 short films, 12 offers for a talk about philosophical ideas all in a loop as walkable installation read more
THEATER: ActingFabian Stumm, Björn von der Wellen, Nicola Heim, Clemente García, Julieta Figueroa
THEATER: Text research and directingAdela Bravo Sauras
THEATER: Technical directionFrancesco Sologuren Delcore
CINEMA: ActingClemente García, Fabian Stumm, Julieta Figueroa Björn von der Wellen, Karin Pelte, Nicola Heim,
CINEMA: SoundAlejandro Carrión León, Jacobo Blasco, Marc Hönninger, George Kranky Grvscl, Benedict Harris
CINEMA: Technical directionJohn Facenfield
CINEMA: CameraTomas Yovane
CINEMA: EditingSimón Bergman, Mauricio Misle
PHILOSOPHY: SpeakingMayte Rodríguez Junker, Cristian Dragnea, Sonja Ruska, Anna Tekampe, Slaven Waelti
PHILOSOPHY: Text researchManuel Baptiste Schmitt, Mayte Rodríguez Junker, Cristian Dragnea
CONCEPT, DRAMATURGY, DIRECTIONAdela Bravo Sauras
I think too much therefore I am sick
Mai 2013, Ballhaus Ost Berlin
What happens when a brain is too full of too many thoughts at the same time? We call it Attention Deficit Hyperactivity Disorder (ADHD). read more
We want to put such a brain on stage.
Theater, film, philosophy, dance and music will simultaneously fight for your attention and you´ll be asked to find your own point of view; not only mentally, but also physically. Get ready for a trip on special ‘seats’ with our new corporate airline: “Easywhy”.
What is commonly understood as an illness is really, rather, a point of view that makes sharing one’s truth with others impossible – but which can nevertheless serve as a key to incredibly rich new worlds. After all, what defines the common truth? Reality is only the totality of different points of view upon reality, that which most people agree is the truth. We want to recover another truth, mental illness, which has lost the battle to history.
Assuming what is real is what can be conveyed, we bombard you with all our entwined thoughts, and together, it should be easy to discover what is true, right?
And, if not, then let´s forget what they say about us all sharing the same language.
VIDEO: ARTISTIC DIRECTIONJohn Facenfield
VIDEO: CAMERA AND EDITINGGregory Norton
VIDEO: SECOND CAMERATomas Yovane
VIDEO: SOUNDAlejandro Carrión, Marc Hönninger
VIDEO: LIGHTCristina Berruti
VIDEO: ACTINGSusanne Meyer, Fabian Stumm, Nicola Heim, Daniela Lucato, Doreen Fietz
VIDEO: TEXTRob Madole
VIDEO: DIRECTIONAdela Bravo Sauras
THEATER: TECHNICAL DIRECTIONNils Meisel
THEATER: PHILOSOPHERSSlaven Waelti, Christian Dragnea
THEATER: DANCINGMartina Martin, Felipe Barea Arraasquin, Adriana Álvarez , Jordi Martin
THEATER: MUSICBruno Tambascio Waine, Antonio Pedrero
THEATER: CHOREOGRAPHIEJordi Martin
THEATER: MUSIC COMPOSITIONBruno Tambascio Waine
THEATER: ACTINGSusanne Meyer
DIRECTION's ASSISTANTCatalina Florit
INSTALLATION's ASSISTANTNils Philipp Dommert
CONCEPT, INSTALLATON, DIRECTIONAdela Bravo Sauras
Steps Through a System of Thought
12.–16. September, Ballhaus Ost, Berlin
What is an instinct? Why do things have outlines? Why do they get into a muddle?… read more
Take a stroll through a mind and discover how we haven’t found a single answer. This is the story of a communication failure between actors, actors and spectators… and mostly between ourselves. If words and thoughts are nothing more than obstacles, we might as well just moo or meow – but at least let’s do it together.
ACTORSSusanne Meyer, Fabian Stumm, Thomas Handzel , Alexandru Cirneala, Adela Bravo Sauras, Luis Tausía, Marina Blanco Torres, Ida Sons, Carlos Segura, Daniela Lucato, Elisabet Sánchez Altube, Ballhaus Ost Team
MUSIC: ViolínVioleta García
MUSIC: Sound walkaboutArtur M. Vidal
COSTUMESSigrid Kipper Thau, Alfonso Ruano Canales
SCENOGRAPHYAnja Stachelscheid, Adela Bravo Sauras, Alfonso Ruano Canales
DRAMATURGYSabrina Hofer, Adela Bravo Sauras, Original text: Gregory Bateson, William Blake
DIRECTIONAdela Bravo Sauras
2013, Ballhaus Ost Berlin
„Bin ich froh, dass ich euch nicht sehen muss!“ Der Akteur unserer Inszenierung genießt seine Existenz, in der er nicht auf andere angewiesen ist und jeder sozialen Interaktion aus dem Weg gehen kann. read more
Im Gehäuse seiner Solokabine gibt es für ihn keine Möglichkeit, nach draußen zu blicken. Umgekehrt haben die Zuschauer die Wahl, ihn durch verschiedene Sehschlitze zu beobachten. Per Audioübertragung folgen sie seinem provokanten Monolog über das Glück der Anonymität. Darin verbinden sich die Erfahrungen berühmter und mitunter umstrittener Aussteiger, von Montaigne bis Thoreau, von Alexander Supertramp bis zu Melvilles Romanfigur Bartleby. Aber irrt sich der Typ nicht? Und wie können wir es ihm sagen?
Unsere Inszenierung widmet sich dem Lebensgefühl urbaner Ballungsräume, in denen gemeinsame Kontexte schwinden und das Alltagsgespräch mit Unbekannten mühsam und unbefriedigend erscheint. Ist konsequenter Individualismus dekadent? Oder ist es das Ideal einer empathischen Gesellschaft, das endgültig ins Museum gehört? Wie verändert sich Öffentlichkeit, wenn an die Stelle gewachsener menschlicher Bindungen ein Beziehungsdesign tritt, das soziale Kontakte nach ihrem Mehrwert beurteilt? Als Voyeure folgen die Zuschauer einem Diskurs, der sich der ästhetischen Selbstverwirklichung verschreibt und Gemeinschaft als Folklore abtut. Dabei ertappen sie mitunter auch sich selbst: “Müssen wir wirklich miteinander reden, nur weil wir es könnten?”
voicesFABIAN STUMM, NICOLA HEIM, JP SONNENBERG, SUSANNE MEYER, DOREEN FIETZ, BJÖRN SONNENBERG, ADELA BRAVO SAURAS
directorAdela Bravo Sauras
director assistantCATALINA FLORIT
taxt actingAdela Bravo Sauras
text voicesADELA BRAVO SAURAS, JP SONNENBERG
InstallationANJA STACHELSCHEID, ADELA BRAVO SAURAS
after a idea fromANJA STACHELSCHEID, JP SONNENBERG
POP QUIZ, ALMOST AN OCTET
März 2010, Hau Berlin und Konzerthalle Frankfurt/Oder
I know It looks pathetic and desperate.I know quite well that what I am gonna tell you is regarded as obscene, that it´ s even close to saying , “Do you like me?. Please like me”, ...but ...please, ...please!, listen to me!.You can sit here with me or leave me alone, so decide. read more
“Pop quiz: almost an octet” is about making decisions, about this two options in almost everything and the impossibility of taking the advantages of both. It is about how we transform our stories so when we ask the listener he would always take the same choise as we did.We need allies,people that prove us right, people at our side and sometimes just someone that listens and nods…or even only listens.
The latent pathos in the staging serve to narrate how funny our own failure can turn out if we are able to accept it with humour.
acting BERLINSusanne Meyer, Anna Maceda Corihuanca, Daniela Lucato, Ida Sons
acting FRANKFURT (O)Lukas Rüppel, Ida Sons
costume designAlessandra Pallotta
graphic designVirginia Gutiérrez
textadaptation from David Foster Wallace, Adela Bravo Sauras
directorAdela Bravo Sauras
If man is dust those who are walking on the plain are men
2013, Tagträumer Nachtlichter_Aussenwelt Festival, Frankfurt
It's true that it takes two people to make you, but 'just one people to die'. Until that moment though, there has to be a way to make death's heralds a bit less grim. read more
A way to make that relationship less contradictory: death and happiness. Even if here where you’ve arrived is not Comala, and besides, all its words also come from the lips of its dead inhabitants. This performance is a corridor through the desert of a world with dislocated time and a persistent premonition of its own end. With laments from Eliot. And some howls from Faulkner. And remnants of Rulfo. You have a license to enter, whether you’re the devil or the king of the Orient. But you’ll have to find the exit yourself, without help from religion or aliens. Not with a bang but with a whimper. And that’s how the world is going to end.
ACTINGNicola Heim, Doreen Fietz, Fabian Stumm
DANCING Jordi Martin, Adriana Álvarez Rui-wamba, Andrea Mendez Criado
MUSICBruno Tambascio Waine
GRAPHIC DESIGNBigodino Font
INSTALLATIONPablo Claudio Wegmann, Adela Bravo Sauras
TEXTfree from William Faulkner, Thomas Stearns Eliot and Carlos Pérez Rulfo Vizcaíno (Juan Rulfo)
CONCEPT, DRAMATURGY, INSTALLATION, DIRECTIONAdela Bravo Sauras
WHAT ARE YOU DOING AFTER THE ORGY?
September 2010, Madrid Tabacalera
A love experiment in the course of which you may never know to what extent you have become an essential part of it. read more
Someone had the idea of giving Cupido a kalashnikov – as if he was not quite well enough equipped with the arrows already. But what can we expect from someone who was conceived in an orgy? If Eros condemned his sweetheart to wander and search for her lost love, what have we to hope for? Let’s batten down the hatches!. Is it possible to love again and again without any memory? To find a way to spread yourself amongst all the stories, simultaneously finding ways to both analyse and reconstruct yourself?
actingSusanne Meyer, Luis Tausía, Anna Maceda Corihuanca, Daniela Lucato, Maialen Vega, Tamara Berbes
music composerFrank Helfer
costume designAlessandra Pallotta
graphic designVirginia Gutiérrez
dramaturgistBarbara Visnevetsky ,Rodrigo García
scenographersAnja Stachelscheid ,Sigrid Kipper Thau
director and stage spaceAdela Bravo Sauras
Adela Bravo Sauras is the artistic director from NoFourthWall. She has been the director of “Lorca was a Doppelgänger”, “Pop quiz, almost an octet”, “What are you doing after the orgy?” , “Metalogues”, “In a whale´s jaw”, “36, a plot´s kermesse”, “Easywhy, I think too much therefore I am sick”, “Peep now, chosen loneliness”, “Lux Páramo”, “Ipsagon”, “My hands. My mother´s” and the co-director of “No exit”. She has also performed in “My hands. My mother´s”, “Ipsagon”, “Easywhy, I think too much therefore I am sick”, “In a whale´s jaw”, “Metalogues”, “Lorca was a Doppelgänger” and “No exit”. Together with Anja Stachelscheid, they have built the installations.
She has also done the Installation Design and construction from the Milano Game Festival for the XXI Esposizione Internazionale della Triennale di Milano commissioned by the Italian Indie Games Studio Santa Ragione and the Immersive setting from Orbis Tertius in the Aufbau-Haus on the Moritzplatz in Berlin by the choreographer Matteo Graziano. She has directed “Voy a cuidarte” and “Fuck you Adrian” for the New York company Pop Up Theatrics.
She has an architect degree from the Escuela Técnica Superior de Arquitectura de Madrid and an MA in Applied Theatre sciences at the Institut für Angewandte Theaterwissenschaft (Justus-Liebig Universität, Giessen, Germany). In April 2020 she is presenting her Doctoral Thesis at the Universität der Künste Berlin with the title ”The Architectonic turn in theatre and the changes that theatre mechanisms produced in the architectural reality in the western world from 1968 to the present times“ that she started thanks to a postgraduate scholarship. She belongs to the Rivas Cherif Laboratory from the National Dramatic Center in Spain as director and scenographer.
She has worked as an architect and has done theatre and film direction, installation, stage design, concept work, dramaturgy and text selection and adaptation, translation and production in NoFourthWall or in collaboration with others: Thomas Bo Nilsson at Schaubühne Berlin and Schauspielhaus Vienna; The Agency at Volksbühne ́s Roter Salon, Münchner Kammerspiele, Sophiensäle, FFT Düsseldorf; Chicks Kollektiv at Impulse Festival; Italian Embassy in Berlin for Diego Cibelli; Circle Line at the Rotonda sul mare by Marcello Smarrelli; Gustavo Tambascio at Teatro de la Zarzuela Madrid; La Fura dels Baus; Sanja Ristic, Roxy Theater, Amsterdam Fringe Festival, Tacheless, Basel Roxy Theater; Nieto & Sobejano Berlin; European Architecture and Urbanism congress EURAU; Master Collective Housing ETSAM; Wilk-Salinas Architekten; HONG Architekten Projekt-Management GmbH and Aescht & Berthold Architekten among others.
She has been a speaker for the International Federation for Theatre Research (IFTR) World Congress since 2015 in“Theatre and Migration: Theatre, Nation and Identity: Between Migration and Stasis”, Faculty of Dramatic Arts, University of Arts, Belgrade, Serbia; “Unstable Geographies: Multiple Theatricalities”, Department of Performing Arts of the School of Communication and Arts, University of São Paulo, Brazil; “Presenting the Theatrical Past. Interplays of Artefacts, Discourses and Practices”, Stockholm University, Sweden and “Theatre and Democracy “, Department of Theatre Arts of Sarojini Naidu School of Arts and Communication, Gachibowli, University of Hyderabad, India.
She has written articles for Contemporary Theatre Review, Routledge; Association for Architectural Aesthetics Zeitung, 6th Annual Doctoral Colloquium Architectural Aesthetics, Building Composition & City Design, Dresden; “Ho perso il pallone”, CL Projekt among others.
She started theatre direction in the Real Escuela Superior de Arte Dramático de Madrid and has learned from Heiner Goebbels, Antonio Miranda, Anna Viebrock, Bojana Kunst, Gerald Siegmund, Robin Arthur (Forced Entertainment), Kris Verdonck, Tuija Kokkonen, Philip Bussmann (Forsythe), Eva Holling, Martina Ruhsam, Kai van Eikels, European Michael Chekhov Workshop, Jaroslaw Wielski, Socorro Anadón, Zywila Pietrzak, Cristina Rota. Nuevo repertorio, and Sala Cuarta Pared, Familie Flöz and Suzuki-Viewpoints among others.
She has played in “No Exit”, “Pop quiz, almost an octet”, “What are you doing after the orgy?”, “Metalogs”, “Winterreise”, “Easywhy, I think too much therefore I am sick”, “Peep now, chosen loneliness” and “My hands. My mother´s” ´s film.
Bruno Tambascio has a degree in Recorder Flute and Early Music by Real Conservatorio Superior de Música de Madrid under his belt, and holding an additional degree in Musical Education by Universidad Autónoma, his studies have included subjects such as harmony,
counterpoint and composition, plus instrumental specializations in guitar, flute and piano.Since year 2000 he has played in shows such as The Merry Wives of Windsor, Le Bourgeois Gentilhomme, Zorba the Greek and Querellas Ante el Dios Amor, which toured throughout Spain and parts of South America. Simoultaneously, he has worked as Stage Manager and Maestro Interno at the spanish main opera houses, Gran Teatro del Liceu (Barcelona), and Teatro Real (Madrid), In 2004, he began to receive professional orders as a musical composer. It is at that time that he composed songs for the theater play In Love But Discreet, by Lope de Vega (Festival de Teatro Clásico de Almagro/ SMU, Dallas). He then composed for Antonio García Gutiérrez's El Trovador. Next he wrote and showcased his own original piece of musical theater: Ludwig, The Swan King; a one man show backed by a vocal chorus and an instrumental quintet. In 2010 he composed the soundtrack for a stage version of Frankenstein, which toured Spain and Italy, and premiered in Teatros del Canal (Madrid). Later on, the production company Kung Fusion Events entrusted him to compose Madre Tierra, a musical show for children.As an audiovisual composer, he scored soundtracks for short films such as El Regalo (selected by numerous European festivals), and De Qué Tienes Miedo, Best Documentary Short Film Award winner at "Cinemobile" festival (Sevilla) and at "Quartmetrages" (Valencia). He then touched on the world of advertising, and composed the soundtrack for the "Making Of " of the Access All Areas campaign for AMG-Mercedes Benz in China. He also composed the musical soundtrack for the video game trailer of Orc Attack, winner of the Audience's Award at the renowned Indie Showcase in Brighton.Later he composed the original soundtrack for the documentary film Where is home? by Nutopia, which premiered in summer 2012 on National Television (Canada)..At the end of 2012 and the beginning of 2013, living in Berlin, he participates with the project Berlin con mucho arte running a series of experimental concerts for their venue, Kleiner Salon. He also joins the theater troupe NoFourthWall as a composer, creating and performing on stage the music for two of their
shows, Easywhy and Lux Páramo, premiered in Berlin and Frankfurt, respectively. As a part of his stay in Germany, he elaborated as well music for the dancing project Multiverse, for the showcase Upcoming Choreographers, in Mainz.
On September 2013, he gets back to Madrid to compose the big scale musical Pinocchio, premiered in Palacio de Congresos (Sevilla), on December 6th, 2013, and still touring throughout Spain. In 2014 he began to collaborate as an arranger for the Big Band of the prestigious Humboldt Universität of Berlin. In September of that very year, he composed and directed the music for the theater play El loco de los balcones from peruvian Nobel prize Mario Vargas Llosa, premiering at Teatro Español de Madrid with José Sacristán as leading actor, and obtaining universal claim from both audience and critics.
His last work to the date was the musical direction for Sondheim’s A funny thing happened on the way to the forum on the International Festival Veranos de la Villa 2015, where he conducted a 19 musicians orchestra in a show with 21 performers on stage, including singers, actors and dancers.
Ida Sons played in „Lorca was a Doppelgänger“, „Pop quiz, almost an octet” in Berlin, Frankfurt and danced in „Metalogues”. „Syno“ was directed by her.
She was born close to Dortmund where she started playing theatre. In Hamburg she has worked as a costume designer and actress in theatre productions and short films. After a theatre program in Nothern Ontario Canada, she moved to the Netherlands. At the ‘Amsterdamse Hogeschool voor de Kunsten’ she developed her theatre and mime skills. Then she worked as a dancer and actress in the Netherlands and Germany. In 2009 she graduated her BA in cultural and theatre studies at the university of Utrecht and ‘Freie Universität Berlin’. In Berlin she first started to work with No Fourth Wall. Currently Ida is attending the Master course Scenic Arts Practice at the ‘Hochschule der Künste Bern’.
Ida Sons works as an actress, performer and writes her own plays. Within her own work she always tries to integrate different disciplines like theatre, dance, mime and visual arts.
Performance work with Ivo Dimchev, Suzana Richle, Heinrich Lüber (CH), Big Art Group (USA), Theatre work with Jürgen Kruse (DEU), Lorentine van Tijn (NL), Lukas Bangarter (CH), Dancer at Festival aan de werf, Roos van Geffen (NL)
ADELA BRAVO SAURAS
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