Junges DT
Mission Statement
Junges DT is an integral part of the Deutsches Theater. We want to create an playfull access to the world. For this we are using all stages of the house and everything that the city provides as stage. We want to help young people between 12 and 25 years of all nationalities find their way into the Deutsches Theater. Junges DT provides an exchange about art and with art and enables a confrontation with great pieces, themes and formats. Junges DT also deserts theater, it sets out together with artists onto expeditions in the public and researches on the spot. Junges DT initiates international coorporations (for example with Hosman, Romania, Basel/ Switzerland,Zagreb/Croatia,Parma/Italy, Schaan/Lichtenstein) with certain issues on intercultural thinking.In the focus point stands the combined work of artists with young people: Education as aesthetical research. Together with young people we use the free space that theater provides.
We invite to see, discover and play.
We invite to see, discover and play.
EGO TRIP
When did you last go on a pleasure trip, just you and your ego, intoxicated by yourself? It’s just me, myself and I. When were you just “you”, not “us”? Solo ride until I die. When were you enough for yourself? I do not need a hand to hold. When was it just about you? It’s just me myself and I. What have you ever done for yourself?
“WKMSNSHG?”, Money Boy raps. This acronym suggests an approving rather than critical question: “Wie kann man sich nur so hart gönnen?” (Literally: How can you self-reward so hard?) What are the ultimate ingredients for the absolute ego trip? A glance at the 104,493 hash tag entries under #gönnung, #gönnungmusssein #gönnungweilkönnung (rough translation: “self-rewarding”, “self-rewarding is a must”, “self-rewarding coz you can”) is akin to a
“WKMSNSHG?”, Money Boy raps. This acronym suggests an approving rather than critical question: “Wie kann man sich nur so hart gönnen?” (Literally: How can you self-reward so hard?) What are the ultimate ingredients for the absolute ego trip? A glance at the 104,493 hash tag entries under #gönnung, #gönnungmusssein #gönnungweilkönnung (rough translation: “self-rewarding”, “self-rewarding is a must”, “self-rewarding coz you can”) is akin to a
post-modern staging of the seven deadly sins: pride, avarice, envy, anger, laziness, gluttony and lust. Favourite methods of rewarding are fast food, junkfood, phat ice creams, fat fries, phat watches, phat cars, and lots and lots and lots of alcohol. Ego trip is synonymous to: no remorse, partying, gambling and all-night Netflix. Or doing nothing: chilling, relaxing. The whole programme is also available in a detox, no-drug, low-calorie, vegan version with colourful fun smoothies, followed by downtime – either at home in a bubblebath, alone on a desert island or crazy expensive in the tropics. Instead of leisure time enjoyed in silence, pleasure these days is to be celebrated, documented and shared. How self-rewarding is my ego trip? Does it need proof,witnesses, applause or envy? I stage myself, therefore I am.
The productions
self-celebration and the search for identity
Tigermilk is about radical self-determination and pleasure, and all that goes along with it: ignoring any rules (especially those governing alcohol) and anyone who is a parent or legal guardian (if at all available and approachable), being intoxicated (preferably on home-mixed Tigermilk) and, of course, sex (high up on the list is the project “deflowering”). Is an ego trip also a search for your own identity? In media terms, the ego trip is the point-of-view of the first-person shooter; its text form is the first-person perspective, the monologue.
In Class Register (Klassenbuch), nine monologues, perspectives and texts are linked to each other. We look into the heads and at the screens of nine twelfth-graders and into the abyss of a not-so-brave new world. But if identity is no longer a stable or reliable factor, not only does the answer to the question “Who am I?” become more complicated, so does the question of truth and reality.
The title All Adventurous Women Do piques our curiosity about what “adventures” all these “women” are going on. But more specifically, what did seven thirteen-year-olds do on their class trip? The consequences are obvious: they have all returned pregnant. In seven monologues, however, it becomes increasingly unclear how it came about and what will happen from now on. What’s crystal clear, on the other hand, are the girls’ demands: autonomy, no matter the price and no matter the consequences for their unborn children or the rest of the world.
In Class Register (Klassenbuch), nine monologues, perspectives and texts are linked to each other. We look into the heads and at the screens of nine twelfth-graders and into the abyss of a not-so-brave new world. But if identity is no longer a stable or reliable factor, not only does the answer to the question “Who am I?” become more complicated, so does the question of truth and reality.
The title All Adventurous Women Do piques our curiosity about what “adventures” all these “women” are going on. But more specifically, what did seven thirteen-year-olds do on their class trip? The consequences are obvious: they have all returned pregnant. In seven monologues, however, it becomes increasingly unclear how it came about and what will happen from now on. What’s crystal clear, on the other hand, are the girls’ demands: autonomy, no matter the price and no matter the consequences for their unborn children or the rest of the world.
Junges DT Club
Using the story of A from Letztendlich sind wir dem Universum egal (In the end, the universe doesn’t care about us) the Jugendclub I (12 years and up) poses the question: what is it like to wake up every morning in a different body and still remain true to yourself? Is it possible to fall in love with someone who has no shape and does not belong to any particular gender or family?
Unconditional Love is the ultimate antidote to the ego trip. After all, where did it lead us except into solitude, emptiness and isolation? Together with a children’s hospice in Berlin, Jugendclub II (16 years and up) is looking for a love that is unconditional, that can live without expectations and is ready to give: “For love is stronger than death” (Job).
Since dead girls don’t lie, the truth is taped 13 times and sent to the guilty parties in the US series "13 Reasons Why". In Germany 10,080 people took their own lives in 2015. Why? Is it possible to talk about guilt when it comes to suicide? Can we describe it as an ego trip? Youth Club III (aged 18 and upwards) No Return will develop an audio walk in search of reasons of suicide.
Unconditional Love is the ultimate antidote to the ego trip. After all, where did it lead us except into solitude, emptiness and isolation? Together with a children’s hospice in Berlin, Jugendclub II (16 years and up) is looking for a love that is unconditional, that can live without expectations and is ready to give: “For love is stronger than death” (Job).
Since dead girls don’t lie, the truth is taped 13 times and sent to the guilty parties in the US series "13 Reasons Why". In Germany 10,080 people took their own lives in 2015. Why? Is it possible to talk about guilt when it comes to suicide? Can we describe it as an ego trip? Youth Club III (aged 18 and upwards) No Return will develop an audio walk in search of reasons of suicide.
Contact us
Birgit Lengers (Head of Junges DT)
Tel +49.30.284 41-399
E-Mail lengers@deutschestheater.de
Anne Tippelhoffer (Team Junges DT/theater & school)
Tel +49.30.284 41-312
E-Mail tippelhoffer@deutschestheater.de
Peter Kolb (Team Junges DT /organisation & communication)
Tel +49.30.284 41-220
E-Mail kolb@deutschestheater.de
Lukas Müller (Team Junges DT / coordination unart)
Tel +49.30.28441-475
E-Mail l.mueller@deutschestheater.de
Lasse Scheiba (Freelancer / Eastercamp and Blog DT Welt)
E-Mail scheiba@deutschestheater.de
Junges DT
Schumannstr. 13
D - 10117 Berlin
Tel +49.30.28441-220
Fax +49.30.28441-408
E-Mail info@jungesdt.de
Tel +49.30.284 41-399
E-Mail lengers@deutschestheater.de
Anne Tippelhoffer (Team Junges DT/theater & school)
Tel +49.30.284 41-312
E-Mail tippelhoffer@deutschestheater.de
Peter Kolb (Team Junges DT /organisation & communication)
Tel +49.30.284 41-220
E-Mail kolb@deutschestheater.de
Lukas Müller (Team Junges DT / coordination unart)
Tel +49.30.28441-475
E-Mail l.mueller@deutschestheater.de
Lasse Scheiba (Freelancer / Eastercamp and Blog DT Welt)
E-Mail scheiba@deutschestheater.de
Junges DT
Schumannstr. 13
D - 10117 Berlin
Tel +49.30.28441-220
Fax +49.30.28441-408
E-Mail info@jungesdt.de
The Projects
Travel & Camps
Have you experienced that moment when you realise: this is how I stand on such-and-such an issue and there’s no way round it. Not getting involved is not an option. When your conscience obliges you to do something, even if it is against what the majority think. To find out on what occasions people stand up for what they think, the project Hier.Stehe.Ich (This Is Where I Stand) takes six Polish, six Russian and six German youths on a trip to Warsaw, St. Petersburg and Berlin. With the director Uta Plate, they find out how resistant they are and what other strong personalities, alongside Martin Luther, Irena Sendler and Andrei Sakharov, could serve as today’s role models on the theme of moral courage. A selfie with a filter is not the ultimate self-expression!
A further vacation-project is planned for 2018: In Springcamp 2018, we test self strategies of self-portrayal with artists – and invent new ones. How can we question, describe, depict, transcend, alienate, disguise and transform ourselves? Using music, theatre, words, pictures, bodies and costumes, we want to find out: Who am I? What makes me unique? Do these crazy sunglasses fit my crazy identity? How do I prove that I am not you? How do I stand up for myself? When am “I” not “us”?
A further vacation-project is planned for 2018: In Springcamp 2018, we test self strategies of self-portrayal with artists – and invent new ones. How can we question, describe, depict, transcend, alienate, disguise and transform ourselves? Using music, theatre, words, pictures, bodies and costumes, we want to find out: Who am I? What makes me unique? Do these crazy sunglasses fit my crazy identity? How do I prove that I am not you? How do I stand up for myself? When am “I” not “us”?
Unart
15 Minutes of Fame
Fancy taking a turn in the spotlight? Imagine yourself in the centre of the stage at the Kammerspiele. 230 pairs of eyes are watching you. Pure adrenaline. These 15 minutes belong to you alone.
Develop your own performance with friends, supported by your coach, and show it in March 2018 in the Deutsches Theater. Whether dance, theatre, fine art, video, music – everything is allowed. Apply now to Unart, a festival where young people bring their own ideas onto the stage!
More information on unart.net.
Develop your own performance with friends, supported by your coach, and show it in March 2018 in the Deutsches Theater. Whether dance, theatre, fine art, video, music – everything is allowed. Apply now to Unart, a festival where young people bring their own ideas onto the stage!
More information on unart.net.
Theatre and school
Continuing in the 2017/18 season, we invite teachers and cultural project leaders to get to know the Deutsches Theater as a venue to discuss social issues and aesthetic approaches. In free workshops, follow-up talks, guided tours or intensive projects – such as a premiere class or the “access” format – different directors’ signatures will be presented and pupils’ own ideas will be used in experiments.
Under the title Neue Nachbarschaft, we will implement projects with young new Berliners from “welcome classes” with our TUSCH Partner as well as strengthen the exchange that has already begun.
We are also happy to visit schools. In a very impressive and anything but humour less way, the new play by the Dutch playwright Erna Sassen poses the question of how far refusal can go. Is your life yours alone? Does 16-year-old Bou have the right not to do anything – not go to school, not sleep, not speak, not want anything, nothing whatsoever. When his father can’t stand it any longer, he gives his son an ultimatum, a notebook to write in and tells him to write a little bit everyday. Bou’s first sentence: This is not a diary. Through writing, he finds his way from depression back to life, and we are “just as released as Bou in the end” (Jury German Youth Literary Award 2016).
Further projects, campaigns and proposals at jungesdt.de
Under the title Neue Nachbarschaft, we will implement projects with young new Berliners from “welcome classes” with our TUSCH Partner as well as strengthen the exchange that has already begun.
We are also happy to visit schools. In a very impressive and anything but humour less way, the new play by the Dutch playwright Erna Sassen poses the question of how far refusal can go. Is your life yours alone? Does 16-year-old Bou have the right not to do anything – not go to school, not sleep, not speak, not want anything, nothing whatsoever. When his father can’t stand it any longer, he gives his son an ultimatum, a notebook to write in and tells him to write a little bit everyday. Bou’s first sentence: This is not a diary. Through writing, he finds his way from depression back to life, and we are “just as released as Bou in the end” (Jury German Youth Literary Award 2016).
Further projects, campaigns and proposals at jungesdt.de