Super naked, super exposed, super shrill. Super Superficial<\/i> is a performance of movement and sound. The performance thematises the transience of surfaces by bending and breaking them. It shows a deceptive image of bodies. In this image, bodies deform and shift. They merge with the surfaces and boundaries of the space.<\/span><\/p>Between comedy and rage, attributions from the outside and physical resistance, the piece provides a powerful and lively response to the relationship to the naked female body in art and society. Super Superficial<\/em> is about women who decide to do whatever they want.<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 3,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 8,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2024\/08\/20230629_072_Super-Superficial_Kysy-Fischer\u00a9Oscar-Barbosa.jpg\",\r\n \"align\": \"bottom\",\r\n \"row\": 4,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 10,\r\n \"attid\": 510,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2024\/08\/20230629_072_Super-Superficial_Kysy-Fischer\u00a9Oscar-Barbosa.jpg\"\r\n },\r\n \"w\": 3650,\r\n \"h\": 5475,\r\n \"ar\": 1.5,\r\n \"alt\": \"\",\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"\u00a9 \u00d3scar Barbosa<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 5,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 1,\r\n \"spacebelow\": 3,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 12,\r\n \"absolute_position\": false,\r\n \"dosync\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"Citizens' Jury Statement:<\/span><\/h3>\u00bbSuper Superficial <\/span><\/i>makes us think about the perception of FLINTA* bodies in society. For us, the piece is a self-empowering and overdue breaking of taboos. Because all bodies are beautiful and should not be stigmatised. Kysy Fischer's production is visually sophisticated, playful, but also challenging. It is humorous and ironic as well as shocking and intense.\u00ab<\/span><\/span><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 6,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 3,\r\n \"spacebelow\": 3,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 14,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"Content Notes:<\/p>
In Super Superficial<\/i>, naked bodies are shown on stage. The performance uses loud and shrill sounds and light impulses (stroboscope) in phases. The performers often make direct eye contact with the audience and can get very close to them.<\/span><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 7,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 5,\r\n \"spacebelow\": 2,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 16,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"elementgrid\",\r\n \"cont\": \"\",\r\n \"align\": \"middle\",\r\n \"row\": 8,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 32,\r\n \"config\": {\r\n \"desktop\": {\r\n \"colCount\": 4,\r\n \"colGutter\": 2,\r\n \"rowGutter\": 1,\r\n \"colGutterMu\": \"%\",\r\n \"rowGutterMu\": \"%\",\r\n \"elementHeight\": 40\r\n },\r\n \"tablet\": {\r\n \"colCount\": 2,\r\n \"colGutter\": 2,\r\n \"rowGutter\": 2,\r\n \"colGutterMu\": \"%\",\r\n \"rowGutterMu\": \"%\",\r\n \"elementHeight\": 40\r\n },\r\n \"phone\": {\r\n \"colCount\": 1,\r\n \"colGutter\": 5,\r\n \"rowGutter\": 5,\r\n \"colGutterMu\": \"%\",\r\n \"rowGutterMu\": \"%\",\r\n \"elementHeight\": 40\r\n },\r\n \"layoutType\": \"same-height\",\r\n \"elements\": [\r\n {\r\n \"type\": \"img\",\r\n \"attid\": 514,\r\n \"cont\": \"\/wp-content\/uploads\/2024\/08\/te-icon-stufenloser-zugang-en.svg\",\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2024\/08\/te-icon-stufenloser-zugang-en.svg\"\r\n },\r\n \"w\": 606.12,\r\n \"h\": 698.1,\r\n \"ar\": 1.1517521282914274,\r\n \"alt\": \"\",\r\n \"caption\": \"No Steps or Stairs<\/p>\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"attid\": 518,\r\n \"cont\": \"\/wp-content\/uploads\/2024\/08\/te-icon-rollstuhlgerechte-parkplaetze-en.svg\",\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2024\/08\/te-icon-rollstuhlgerechte-parkplaetze-en.svg\"\r\n },\r\n \"w\": 545.68,\r\n \"h\": 590.02,\r\n \"ar\": 1.0812564140155403,\r\n \"alt\": \"\",\r\n \"caption\": \"
Wheelchair Accessible Parking<\/p>\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"attid\": 519,\r\n \"cont\": \"\/wp-content\/uploads\/2024\/08\/te-icon-rollstuhlgerechte-toiletten-en.svg\",\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2024\/08\/te-icon-rollstuhlgerechte-toiletten-en.svg\"\r\n },\r\n \"w\": 669.73,\r\n \"h\": 552.39,\r\n \"ar\": 0.8247950666686574,\r\n \"alt\": \"\",\r\n \"caption\": \"
Wheelchair Accessible Toilet<\/p>\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"attid\": 520,\r\n \"cont\": \"\/wp-content\/uploads\/2024\/08\/te-icon-ruheraum-en.svg\",\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2024\/08\/te-icon-ruheraum-en.svg\"\r\n },\r\n \"w\": 626,\r\n \"h\": 646.34,\r\n \"ar\": 1.0324920127795527,\r\n \"alt\": \"\",\r\n \"caption\": \"
Quiet Room<\/p>\"\r\n }\r\n ],\r\n \"addtostart\": false,\r\n \"randomOrder\": false\r\n },\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"hr\",\r\n \"cont\": \"\",\r\n \"align\": \"middle\",\r\n \"row\": 9,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 1,\r\n \"spacebelow\": 1,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 20,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"elementgrid\",\r\n \"cont\": \"\",\r\n \"align\": \"top\",\r\n \"row\": 10,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 33,\r\n \"config\": {\r\n \"desktop\": {\r\n \"colCount\": 4,\r\n \"colGutter\": 2,\r\n \"rowGutter\": 1,\r\n \"colGutterMu\": \"%\",\r\n \"rowGutterMu\": \"%\",\r\n \"elementHeight\": 40\r\n },\r\n \"tablet\": {\r\n \"colCount\": 2,\r\n \"colGutter\": 2,\r\n \"rowGutter\": 2,\r\n \"colGutterMu\": \"%\",\r\n \"rowGutterMu\": \"%\",\r\n \"elementHeight\": 40\r\n },\r\n \"phone\": {\r\n \"colCount\": 1,\r\n \"colGutter\": 5,\r\n \"rowGutter\": 5,\r\n \"colGutterMu\": \"%\",\r\n \"rowGutterMu\": \"%\",\r\n \"elementHeight\": 40\r\n },\r\n \"layoutType\": \"same-height\",\r\n \"elements\": [\r\n {\r\n \"type\": \"img\",\r\n \"attid\": 526,\r\n \"cont\": \"\/wp-content\/uploads\/2024\/08\/te-icon-ohne-sprache-en.svg\",\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2024\/08\/te-icon-ohne-sprache-en.svg\"\r\n },\r\n \"w\": 615.41,\r\n \"h\": 555.05,\r\n \"ar\": 0.9019190458393591,\r\n \"alt\": \"Without \/ Little Spoken Language\",\r\n \"caption\": \"
Without\/Little Spoken Language<\/p>\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"attid\": 516,\r\n \"cont\": \"\/wp-content\/uploads\/2024\/08\/te-icon-dgs-en.svg\",\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2024\/08\/te-icon-dgs-en.svg\"\r\n },\r\n \"w\": 700,\r\n \"h\": 560.04,\r\n \"ar\": 0.8000571428571428,\r\n \"alt\": \"\",\r\n \"caption\": \"
German Sign Language<\/p>\"\r\n }\r\n ],\r\n \"addtostart\": false,\r\n \"randomOrder\": false\r\n },\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"
Triggers: nudity,<\/span> loud, <\/span>strobe<\/span><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 11,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 3,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 24,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"Arrival\/Departure<\/strong><\/p>Friday<\/p>
05:00 pm
Bus 34 direction Luttrum \/ Holle from \\\"Hauptbahnhof Hildesheim\\\" to \\\"Scharfe Ecke\\\"; arrival approx. 05:15 pm<\/p>
07:42 pm
Bus 34 direction Bahnhof\/ZOB, from \\\"Scharfe Ecke\\\" to \\\"Hauptbahnhof Hildesheim\\\"; arrival approx. 07:55 pm<\/p>
Saturday<\/p>
06:00 pm
Bus 34 direction Luttrum \/ Holle from \\\"Hauptbahnhof Hildesheim\\\" to \\\"Scharfe Ecke\\\"; arrival approx. 06:15 pm<\/p>
09:30 pm
Free shuttle bus from \\\"Scharfer Ecke\\\" via \\\"Schuhstra\u00dfe\\\" to \\\"Hauptbahnhof Hildesheim\\\"; arrival around 09:45 pm<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 12,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 5,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 44,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"
Team<\/h2>\",\r\n \"align\": \"middle\",\r\n \"row\": 13,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 5,\r\n \"spacebelow\": 2,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 26,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"
Choreography: Kysy Fischer<\/span><\/p>Dramaturgy: Jaika Bahr<\/span><\/p>Performance: Rafuska Marks, Kysy Fischer, Nathalie Wendt<\/span><\/p>Lighting design: Raquel Rosildete<\/span><\/p>Music: Kriton Beyer<\/span><\/p>Video: Leo Naomi Bauer<\/span><\/p>Production management: Jaika Bahr<\/span><\/p>Mentor: Luisa Fernanda Alfonso<\/span><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 14,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 28,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"Kysy Fischer<\/span> <\/span><\/strong>(BR) uses humour to confuse disciplines such as dance, performance and theatre. As a choreographer, she is interested in minimalist exaggeration and playing with contradictions. Through her work, she seeks forms of contact between performers and audiences and criticises the hierarchies of artistic spaces and practices. In her academic research in Brazil, she explored performance art as an applied philosophical practice. <\/span>She is co-founder and director of the collective ABA NAIA<\/em>, in which she mainly explores feminist humour. At Ballhaus Naunynstra\u00dfe<\/em>, she worked as a choreographic collaborator with Raphael Hillebrand and others in Auf meinen Schultern<\/em>. Kysy Fischer has been involved in guest performances and performance projects <\/span>in Germany (ETB - IPAC<\/em>, Ringlokschuppen<\/em>, PAF-Festival<\/em> with her piece We Can Do It Moaning<\/em>, Tanztage Potsdam<\/em> and BATTheater<\/em> with otherMess<\/em>), Brazil, Switzerland, Finland and Sri Lanka.
<\/span>Jaika Bahr<\/strong> <\/span>(DE) began her work with ABA NAIA in 2020 with the performance \u201cWe Can Do It Moaning\u201d. Further play developments followed with the collective: \u201cFIASKO\u201d, \u201cThe Panel\u201d and \u201cAd Absurdum\u201d. In addition to her studies in cultural and literary studies, she has worked as a dramaturg and assistant director at various theaters in Berlin. At Theater an der Parkaue in 2019, she developed the dance performance \u201cDie Unbehausten-Das Battle um die Stadt\u201d together with Raphael Moussa Hillebrand. She also developed the dramaturgy for Raphael Moussa Hillebrand's biographical dance performance \u201cAuf meinen Schultern'' at Ballhaus Naunynstra\u00dfe. Her work is guided by the artistic research principle of examining biographical material in its interplay between transformation into a work of art and the journey out of factuality.\u00a0<\/p>Rafuska Marks <\/strong><\/span>(BR) is a performer based in Berlin. After graduating in Drama, she performed in festivals all over Brazil with Vigor Mortis and Cia Silenciosa. As a performer she has performed in the International Theater Forum, Theatertreffen in Berlin. She received a scholarship from the Goethe-Institut and she interned at the Maxim Gorki Theater. She took part in workshops with Falk Richter and Jan Lauwers at the Biennale di Teatro di Venezia. And with Rodrigo Garcia at the Malta Festival in Pozna\u0144, Poland. She is a co-founder of the collective ABA NAIA in Berlin and the Colectivo Fango in Madrid, Spain, where she performed in 2021 and 2022 at Teatros del Canal. She has also worked with LAS TESIS in 2021 at HAU Berlin.<\/p>Nathalie Wendt<\/span> <\/strong>(DE) studied Puppetry at the HfS \u201eErnst Busch\u201c Berlin and is working as a freelancing puppeteer, actor, director and puppet-builder. I.a. she performed at Schauspiel Frankfurt, Theater an der Parkaue Berlin, Staatsoper Unter den Linden Berlin, built puppets for Schauburg M\u00fcnchen, directed at Hans-Otto-Theater Potsdam, wrote the theatre scripts for her own productions and worked as a guest teacher for puppetry at the HfS \\\"Ernst Busch\\\" in Berlin. In the independent scene she worked e.g. in the theatre collectives DAS HYBRIS and KREATUR, together with Victoria McConnell she developed the queer-feminist standup tragedy format THE HEROINE SHOW and she produced the philosophical podcast THE BULLET. Her productions have been awarded several times with prizes at the Freisprungfestival in Rostock (2. place 2016, 2019, 2021).<\/p>Kriton Beyer<\/strong> <\/span>(GR\/DE) is a musician and composer, who mainly works with the harmonium and the daxophone. He studied musicology in Greece where he collaborated with a variety of local music groups as well as musicians such as Sakis Papadimitriou and Floros Floridis. In 2004 he moved to Berlin and became involved in the improvised music scene. Since then he has worked with many musicians, including Phil Minton, Kalle Kalima, Axel D\u00f6rner, Kresten Osgood, Tristan Honsinger, Tomomi Adachi, Richard Scott, Willi Kellers, Matthias Bauer, Antonis Anissegos, Olaf Rupp, Els Vandeweyer, Harri Sj\u00f6str\u00f6m, Nicola Hein and Liz Allbee, dancers such as Yuko Kaseki and visual artists such as Akiko Nakayama. Kriton is a member of the electroacoustic trio \u201cuproot\u201d, the ensembles \u201cRedox Reaction\u201d, \u201cAEAEA\u201d and the \u201cBerlin Soundpainting Orchestra\u201d.<\/p>Leo Naomi Baur<\/strong> <\/span>(DE) is a Berlin-based non-binary choreographer, video and performance artist. Since her Master in Performing Public Space at FONTYS School of Fine and Performing Arts (2019 \/ 2020) Leo's practice is dealing with the chaos of urban mass society in a complexly interconnected world. Leo's video compositions emerge from intuitively filmed raw footage, experimental post-production and decisions in the moment of performance. Central methods in Leo\u2019s work are sampling, chance mechanisms, errors and collage. Since 2021 Leo is studying the Master Choreography (maC) at HZT Berlin.<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 15,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 30,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"Trailer<\/h2>\",\r\n \"align\": \"top\",\r\n \"row\": 16,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 5,\r\n \"spacebelow\": 2,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 34,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"video\",\r\n \"cont\": \"https:\/\/i.ytimg.com\/vi\/Oh6iep6rF1E\/hqdefault.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 17,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 36,\r\n \"iframe\": \"