Tanween Theater Company

Reality Check

In conditions of no limitations or surveillance, what choices and actions can one make? Reality-Check, a technique used during the process of lucid dreaming to recognize the fantasy of our dreams, is the title of the interactive performance/research by choreographer Mey Seifan with a group of artists and experts coming from different disciplines.


When activists are forced to scatter and to connect through their mobile phones and laptops, who among them knows what is really going on? Who possesses the truth and do values change according to where they are? How do fear, imagination, ambition and lies shape the truth? HomeWork explores the differences between the truth and the believable, in the context of activism and corruption. Activists, who never stop working, hide what they do to survive. Corrupt people, who never stop working too, boasts about what they do to survive. The play tells the story of an activist girl stuck alone in a city she does not know, and then meets a corrupt man. She lies all the time, and he believes her. He says the truth all the time, but she does not believe him. How can choices be made?


“A while ago I saw in my dream myself and all my people together walking on water, blue deep water that flooded half our houses. I saw in my dreams, myself and my people walking on water, water, blue and deep, that flooded half our houses.” Salam Hasan, 25.07.2011. We all dream when we sleep. But how do we experience dreams when they arise in a temporary space or a situation which is supposed to pass by? How would a dream be in a prison, in a refugee camp, in a “no man’s land” or in a tent? Possibly in a city of tents, a city of sheets and fabric? In the current Syrian war, cities are being destroyed. Inhabitants are fleeing and building new tents/camps/ cities - hoping that it is only a temporary state. But after years, the cities of fabric are still there keeping the hopes and the dreams of their inhabitants. Performers and spectators create together a dream camp that has different dreaming zones. Each zone is a tent. The visitors determine the order, the tempo and the intensity of their encounter with each zone/tent. The tents communicate with moods of light, scent, visuals, sounds, foods. The installation is mingled with a performance, which follows the dream routines. The dramaturgy is built according to the scientific knowledge of the sleeping sequence, which lasts for 90 minutes and is divided into 4 sleeping phases. Actors appear and disappear around the tents and inside them, while spectators ‘experience’ the tents and the dreaming zones.

Please Repeat After Me

‘I have millions of reasons to be crazy, give me one reason to be sane!’ Through designing mistakes that look real on stage, Please, Repeat after me, provokes several topics: representing identity on stage, theatre tradition, relationship to the audience, and the imbalance of power between cultures. it is a drama about decision making, mistakes making and labels. The play pretends to represent ‘real’ testimonies about ‘real’ incidents told by ‘real’ refugees. At times, when anything can happen, anything can be real, and any stereotype is accepted, myths are written. Was the whole representation a mistake? When does the stereotype stop being a stereotype? When does the refugee stop being a refugee? When does the actor stop being an actor?

Zerstörung für Anfänger / Die Trilogie

„Zerstörung für Anfänger“ ist eine choreografische Untersuchung, die den Versuch unternimmt, Abläufe von Zusammenbrüchen, Zerstörung und Vertreibung darzustellen. Als Hintergrund dienen die jeweiligen sozialen, 

kulturellen und politischen Erfahrungen der syrischen Akteure, deren Heimatländer sich seit längerem in einer Phase des Umbruches mit ungewissem Ausgang befinden. 
Mittels intellektuellem Diskurs, Verspieltheit, physischer Interaktion und Sarkasmus unternehmen die Darsteller den Versuch, dicke Schichten historischer und kultureller Anreicherung zu „annullieren“ und klischierte Wahrnehmungs­strukturen als solche aufzudecken. Eine Dramaturgie der Dekonstruktion dient als Möglichkeit, dem Verstehen und Verständnis neuer Realitäten Raum zu schaffen.

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