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JULI MAHID CARLY


WORKS   VITA   WORKSHOPS   REVIEWS   DRAMATURGIES





 
0:00
   
Tere Mere (Play with Video)
3:19






CONTACT: JULIMAHIDCARLY@GMAIL.COM





WORKS



HÄNSEL&GRETEL: A SWEET ESCAPE

FATA MORGANA



MERMAID CUT


STEREOTOPIA

 
 KABALE+LIEBE

WHITE BALANCE



MONO.LOG


BUND AUF ZEIT
ANTI.AGING.APFEL

JULI MONSUN (TRIPTYCHON IN PROGRESS)


RÄUBER.BACHELOR.PARADISE
(DO YOU MISS SCHILLER?)


METAMORPHOSIS




Born betweend Germany, Turkey and Bangladesh in 1997. Then Göttingen, Stuttgart,
Rome, Mumbai, Pune, Munich, Kassel, Berlin. Juli works voluntarily as second
chairman for the association Studio Lev Kassel, which develops collective art
projects with young people and young adults in the field of spatial
installation, theatre and contemporary musical. At the moment Juli is mainly
interested in opening creative spaces for encounters in which socio-political
questions, dreams and longings can be put up for discussion without taboos, in a
constant exchange between identity concepts and life practices.


In my own work I use pop-culture, biographies and the constant human urge to be
seen, as starting materials for postcolonial and queer narratives, immersions
and border crossings, who don´t ever fear to be trashy and flamboyant. I write
texts, do performances, stage plays, give workshops and collaborate with
different professional and non-professional artists.
(I use all Pronouns)





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EDUCATION

   since 2023
dissertation project at the UDK Berlin (artistic and theoretical research
regarding the complex of post-colonial beauty ideals and their artistic and
design-scientific processing and its interaction with visual digitale cultures
and trends in the global south)

    2017-2022
Akademie für Darstellende Kunst Baden-Württemberg, Ludwigsburg
Theatre Directing 

    2019
Exchange semester at Film Institute of India, Pune
Documentary Film Making Class

    2018
Exchange semester at Filmakadmie, Ludwigsburg
Produktion, Dokumentarfilm und Montage

    2015-2022
Georg-August-Universität, Göttingen
German Philology and History




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AWARDS AND GRANTS


    2023
- Literature scholarship from the Jürgen Ponto Foundation.
- Playwriting scholarship from the Berlin Senate for young audiences.

    2022
- Residency Grant from the Performing Arts Fund for a research stay at Theater
Rampe in Stuttgart
-  Wortmeldungen-Award from the Crespo Foundation for critical short texts.

    2021-2022
Grant from the Playwrights' Fund of the Berliner Ensemble.

    2021
- Cataclysm Scholarship for Artists in the City of Stuttgart
- Exhibition Scholarship from the Literary Museum Marbach
- Flausen+ Research Residency at Theater Vrede Oldenburg

    2020
- Award for Best Film for "WEISSABGLEICH" at the Federal Festival of Young Film
in Rostock.
- Invitation to the Körber Studio Young Directors at Thalia Theater in Hamburg.

    2019
- Osnabrück Playwright Prize for "VERBINDUNGSFEHLER" (Connection Error).
   
    2018-2022
- Fellow of the Artist Promotion Program of the German National Academic
Foundation.

    2015-2018
- Fellow of the German National Academic Foundation.



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EXHIBITIONS, INSTALLATIONS, PERFORMANCES, FESTIVALS AND SCREENINGS

    2023
to belong and other reveries, Kunsthochschule Kassel (co-curation)
Hänsel&Gretel:A Sweet Escape, Volkstheater München (text, directing)
Kabale+Liebe, Spiegelhalle Konstanz (text, directing)
Anti.Aging.Apfel., Theater Drachengasse Wien (concept, performance)
We ate that Up, Szene Zeigen Festival performance festival Dortmund (concept,
performance)
Juli Monsun, Back from Bollywood, Out Now Festival Theater Bremen (concept,
performance)
Gap Year, Stellwerk Weimar (text, installation)


    2022
Fata Morgana, Volkstheater München (performance, text)
Kliffhänger, Junges Nationaltheater Mannheim (text)
Turing-Test, Neues Studio Lev Kassel (performance, installation)
Juli Monsun: Toxic//Exotic, Galerie Oberwelt Stuttgart, (digital exhibition)
Tere Mere Beech Mein, Diskurs-Festival Gießen


    2021
Fehlt Ihnen Schiller?, Schillernationalmuseum Marbach (digital group exhibition)
Fringe! Queer Film Fest, London (Screening)
Fast Forward: Europäisches Festival für Junge Regie, Dresden (Screening, Artist
Talk)
Juli Monsun: Grand Comeback, Sprungturm-Festival Darmstadt (performance)
Mermaid Cut, Schauspiel Stuttgart (performance, text)
Verbindungsfehler, Theater Osnabrück (text)
Mono.log, Theater Vrede Oldenburg (performance, public space)


    2020
Sehsüchte, International Student Film Festival, Potsdam (Screening)
Bundesfestival Junger Film, St. Ingbert (Screening)
Festival Junger Film FISH, Rostock (Screening, Artist Talk)
räuber.bachelor.paradie, Körber-Studio Junge Regie Thalia Theater Hamburg
(performance, text)


    2019
Hofer Filmtage (Screening)
Indian Documentary Short Film Festival Kolkata (Screening)
Juli Monsun: Orakel von Lichterfelde, Artlake Festival (performance)
Kein Wolf kein Schafpelz, Studio Naxos Frankfurt und HR-Hörspiel (text)
   
    2018
Bund auf Zeit, Wilhemburg Ulm (installation, performance)

    2016
Stereotopia, Studio Lev Kassel in der Unteren Königsstraße 14 (installation,
performance)


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TEACHING EXPERIENCE AND WORKSHOPS

    WiSe 2022-SoSe 2023
lecturer, artistic associate at Kunsthochschule Kassel in the class for
multidimensional strategies
   
    2022-2023
trainer, lecturer for the German Unesco Comission within the programme
KULTURWEIT (international cultural exchange)

    2021-2022
Me:Fragmenta, worldbulinging/storyteling workshop (Studio Lev Kassel)

    2021
“transethnic identies and racial stereotypes in german film”, seminar at Film
Institute of India, Pune
#dreamsaremyreality, theatre workshop (Studio Lev Kassel)

    2020
“Performancebegriff und Identitätspolitiken”, seminar at PH Ludiwgsburg
Queer dekolonisieren, Queercademy Berlin (JGW)
Pause, now Pose! workshop about cultural appropriation (Studio Lev Kassel)

    2018
Political Drags, workshop (Studienstiftung)

    2015-2017
tutor Germanistische Linguistik, Mediävistik and Neuere Deutsche
Literaturwissenschaft at the Seminar for German Philology Uni Göttingen

    2015-2016
Teacher for German as a second language (Bildungsvereinigung: Arbeit und Leben
Niedersachsen)







WHITE BALANCE

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Experimental documentary video essay
(German with English subtitles, 17 min. at catalogue of AG Kurzfilm)









Protagonist Julian tries to fit in in an extreme way.
Being German, being beautiful, bleaching creams. He confronts other people with
his desire to become white: His mother is shocked, but doesn't really take the
whole thing seriously. A right-wing extremist activist talks a lot but says very
little. A plastic surgeon thinks he can "help" Julian on his way by laser
treatment. But is skin lightening really a cure for Julian's problems?

Conzept, Production, Directing: Julian Mahid Carly
Montage: Maxie Borchert
DOP: Markus Ott
Sound, Music: Dominik Kröhnert, Dominik Matzka

Screenings
Hofer Filmtage (2019)
Film Institute of India Pune (2019)
Kalkutta Doc Festival (2020)
Sehsüchte Potsdam (2020)
Bundesfestival Junger Film St. Ingbert (2020)
Furore Festival (2020)
Coronale Ludwigsburg (2020)
Theater Rampe (2020)
FISH-Filmfestival (2022)

Main Prize: Bundesfestival Junger Film, Rostock (2020)
















FATA MORGANA


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Interactive theater installation with three screens, four performers, four
technicians, two palm bearers and you.

You have over a million followers in social media? You don't want to pay taxes,
but you do want luxury, beaches and sun around the clock? Then let's go to our
beautiful oasis in the Middle East. A place where influencers can produce their
content undisturbed and enjoy the wonders of the Orient. Oh yes, we also pledge
not to talk about the ignored human rights or the restricted freedom of the
press, or who built all the beautiful houses here and under what conditions.
Cool? Cool!



Text, Staging: Julian Mahid Carly
Szenography und Costume Design: Sonja Hoyler
Video: Maximilian Müller
Dramaturgy: Leon Frisch
Light Design: David Jäkel
Performance: Ruth Bohsung, Luise Deborah Daberkow, Lorenz Hochhuth, Maral
Keshavarz

During the Season 2022/23 at Volkstheater München LINK
















HÄNSEL&GRETEL: A SWEET ESCAPE

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Queer Fairytale Performance





Dinner with the family. Gretel can't manage to eat anything except for her
fingernails, while Hansel can't get enough. Since his thyroid cannot compensate
for binge eating in the long run, but he absolutely does not want to gain
weight, he demands a firm hand from his parents. Because the brats' consumption
behavior also does not align well with the local inflation, the mother is forced
into the role of the evil stepmother, and the well-known fairy tale can unfold.
Hansel and Gretel are abandoned in the forest and can't find their way back. But
suddenly, the bitterly cold darkness gives way to a seductive landscape of cream
with a mysterious magical lady as the topping. With her, there are not only
plenty of cakes but also the antidote on top: an elixir that satisfies the
annoying hunger and helps with nail-biting. Hansel and Gretel desperately need
the recipe.


Text, Concept: Juli Mahid Carly
Costumes: Hanna Rode
Stage: Nathalie Schatz
Music: Andreas Niegl
Dramaturgy: Bastian Boß, Leon Frisch
Design Assistance: Lasse Fischer
Photos: Gabriele Neeb
On Stage: Anne Stein, Lukas Darnstädt, Max Poerting, Julian Gutmann, Henriette
Nagel









KABALE+LIEBE

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Museal RomCom // Weimarer Klassik at Spiegelhalle Konstanz






"The lemonade is as flat as your soul," Ferdinand says to Luise. Of course,
that's understandable when there was no carbonation in the 18th century. But
nowadays, with carbonation available, there's no reason it can't fizz nicely in
the stomach. And in the soul.

So, it's high time to take a new look at the gossip mill, the intrigues, and the
grand love between Luise and Ferdinand. In the bourgeois tragedy "Intrigue and
Love," premiered in 1784, Friedrich Schiller transcended social boundaries with
his characters: Ferdinand, son of the courtly President von Walter, and Luise,
daughter of the town musician Miller, love each other and want to build a life
together. However, parents, jealous rivals, and the prevailing social order of
the time stand in their way. In typical Schiller fashion, coerced, swapped, and
fabricated letters circulate among the characters, driving the emotional
carousel to the extreme. A plot that could inspire telenovelas.



Text, Concept: Juli Mahid Carly
Costumes+Stage: Sonja Hoyler
Dramaturgy: Sabrina Toyen
Assistance: Marleen Seiter
On stage: Sara Siri Lee König, Jasper Diedrichsen, Anne Rhode, Odo Jergitsch






I. JULI MONSUN: BACK FROM BOLLYWOOD

Biografic-Autophagic Pop-Performance








In July the rain. Three feature film offers in Bombay. I could have stayed
there. They really wanted me to continue.
But the summer is long gone, the the gates of heaven over India can soon no
longer hold what will come crashing down on you in Europe.
It must come out, everything must come out, back on stage!
Then the lights flicker and it booms out of the boxes:
Postcolonial
vorm Süßwarenregal!

LINK TO VIDEO RECORDING

Text, Conzept, Performance, Raum, Kostüm: Julian Mahid Carly
Backgrounddancers: Sara Adina Scheer, Luna Deina, Julian Moritz
Producer: Maxie Borchert

Festivals
100Pro-Festival Ringlokschuppen (2020)
Sprungturmfestival Darmstadt (2021)
Bipoc-Festival Kassel (2022)
United Queer Festvial Berlin (2022)






II: JULI MONSUN: ORAKEL VON LICHTERFELDE

Immersive Installation with Oracle




Nocturnal spirit conjurings, reading the future from the hands and cards but
what if the personal destiny becomes political, if the private vision
matures into a social utopia. With utopian social games, obscure background
stories and sound-induced trance-like states, Juli Monsun as a medium tries the
balancing act between esoteric blabla and an actual dialogue about individual
and global wishes and dreams.


A work from Amanda Lasker-Berlin, Sara Adina Scheer und Julian Mahid Carly
(alias ROKOKOKOMPLEX)

Festivals
Artlake Festival (2019)
WHOLE Festival (2021)
Kultursommer Kassel (2021)







III. JULI MONSUN: TOXIC, EXOTIC

(Digital) Exhibition, Galerie Oberwelt Stuttgart, Live Performance on Zoom.







 
0:00
   
Chittagong Bay
2:38
 
0:00
   
Yeah
0:15

 
0:00
   
I got the power
0:02
 
0:00
   
Toxic
3:19


Derweil in den Mangroven,

Ich tue jetzt nicht mehr so, als könnte ich eine andere Perspektive einnehmen.
Ich mache es transparent. Ich weiß, dass das unsexy ist. Genauso unsexy, wie
Flüsse, Seen und Meere die über ihre Ufer treten.
Ich bin meine Tante in Bangladesch, in Burkina oder Belize. Ich hab geheiratet
und fünf Kinder. Dir ein Video geschickt von der Hochzeit.
Dass du dir immer in der Weihnachtszeit anschaust. Mein Mann ist der
Bürgermeister von Munjigang. 2 Millionen ungefähr. Und mein Mann dealt mit
Drogen.
Und mein Mann besticht die Justiz. Und wir setzten die schärferen Gesetze zur
Arbeitssicherheit in Kleiderfabriken oder zur chemischen Verunreinigung der
Flüsse nicht um, wir boykottieren sie sogar, weil die Subsidärfirmen von H&M uns
bestechen. Ich selbst leite so eine Fabrik. Das hat dir dein Vater teilweise
erzählt.
Das hast du teilweise dir selbst ergooglet. Du fragst dich, ob wir in
Bangladesch auch eine Hautfarbe haben, oder in Burkina, oder in Belize und die
Antwort ist ja.
Wir gehören hier zu den hellen. Den Reichen. Den Schönen.
Du bist neidisch darauf.
Dass du einem Schönheitsideal irgendwo auf der Welt tatsächlich entsprechen
könntest, das nimmt dir Trauma und gibt deiner Existenz Tragik.
Im Gegensatz zu mir weißt du, dass mein Heimatort wahrscheinlich innerhalb der
nächsten 25 Jahre unter Wasser stehen wird.
Ich werde darauf nicht vorbereitet sein, ich werde es langsam bemerken, aber
weil ich Macht habe, werde ich mir keine Sorgen machen und einfach mein Haus
immer höher bauen. Ich werde auf Leichen wohnen, ich wohne schon auf Leichen.
Du wohnst auch auf Leichen, aber bei dir wirkt das weniger rücksichtslos, weil
ich und meine Familie die Drecksarbeit hier in der Subalterne verrichten, die
deinen Wohlstand garantiert.
Das macht dich traurig.
Das kann ich nicht verstehen.
Das wird immer zwischen uns stehen.
Denn ich bin so stolz darauf, dass ich Geld verdiene, stolz auf meine Villa, in
der Sklaven arbeiten, stolz auf meine Fabrik, in der Nähte aufplatzen und Kinder
verbrennen und stolz auf dich, die ich nicht kenne, dass du im fernen Westen
unter einem Mangobaum im Gewächshaus sitzen kannst und kreative Texte schreibst,
die sicher mal irgendwann im Fernsehen von irgendeiner sehr talentierten
Schauspielerin gesprochen werden, oder so.




Coming from somewehere, that always hurts so much, I heard my grandma say as a
child. In this digital zoom performance Juli Monsun shows different works of her
artistic creation to interested visitors, comments on them and partly reenacts
them live. All while she forgets why she is where she is, why she is sitting in
front of a small camera somewhere in Stuttgart, although she should be a big
star somewhere in India. And how can it be that the best pop song of all times
is based on a sample from her favorite Bollywood movie and she didn't suspect
that for 24 years.

A work from Julian Mahid Carly

Granted by the Kataklyse-Stipendium of Stadt Stuttgart




RÄUBER.BACHELOR.PARADISE

Immersive Pathosperformance freely adapted from Friedrich Schiller, @whyniels
und Ulrich Seidl






SINGLE-BACHELOR-PARADISE-PARTY, sponsored by Saeculum-Dating-App
#bringyourprivilege. Franz Moor's struggle against the physiognomic conditions
of his involuntary celibacy makes him cross the boundaries of good dancefloor
taste. His brother Karl and his loyal student friend Schweitzer give up their
promising careers as influencers because of unfortunate algorithmic
"conjunctures", turning into merciless social justice warriors. And what does
the (in)transparent Amalia von Edelreich have to do with all the "desires"? 

LINK TO VIDEO RECORDING


Text, Conzept, Performance: Julian Mahid Carly
Performance: Sara Adina Scheer,  Marcel Jaqueline Gisdol, Katharina Kurschat,
Eva Schön
Szenography und Costume Design: Sonja Hoyler
Dramaturgie: Marvin Neidhardt


Eingeladen zum Körber Studio Jungen Regie 2020 ans Thalia Theater Hamburg LINK




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FEHLT DIR SCHILLER

Digital Group Exhibition at Schillernationalmuseum Marbach




Schiller characters made with the Sims avatar editor that rebel against their
depiction convention while still trying to keep the kitsch and essence from
their original character drawing.



Appropriation of Schiller's Antirttsvorlesung in Weimar, which critically refers
to his ethnology, but tries to imitate his linguistic gesture. In addition, the
text reflects the strange context in which it is itself exhibited.




The group exhibition ran from May to July 2021, and the special thing about it
was that the different artists could also comment on the works and refer to each
other with their works. 

LINK TO EXHIBITION



 
0:00
   
KATASTROPHE
9:36










BUND AUF ZEIT


Immersive room installation in the vaults of the Wilhemsburg Ulm, with video and
soundscape

We make a temporary covenant and vow to experience the fortress.
Together with the visitors, we explore the history of the fortress, ask
ourselves which alliances can stand the test of time and how much cohesion is
necessary. At the communal banquet table, we will explore why alliance always
means exclusion and how much spirituality an alliance can bear.

The Wilhelmsburg has experienced a changeable use. As a military facility where
many young soldiers lived for centuries, but also as a camp of Nazi forced labor
for the Telefunken company, which manufactured televisions and audio equipment.
Finally, refugees and displaced persons lived there after the World War and
again in 2015-2016. Now the empty castle is being repurposed as an art and
cultural space. 

Conzept and Installation: Amanda Lasker-Berlin, Sar Adina Scheer, Julian Mahid
Carly
Video and Audio: Julian Mahid Carly
Performance: Amanda Lasker-Berlin, Sar Adina Scheer, Julian Mahid Carly, Marcel
Jaqueline Gisdol, Stella Hanheide





























METAMOPRHOSIS


Zoomperformance with Lockdown-Teasers.

A family in the heart of Germany, in their apartment, on the verge of a nervous
breakdown. Squatting on top of each other and chronically irritated, the Samsas
find themselves in crisis - with different coping strategies. Father Samsa is
beside himself, Mother Samsa at the stove. So far, so stereotypical. While
daughter Grete digs into Reclam notebooks for her German A-levels, a big secret
is made about son and sole breadwinner Gregor. Because the money shortage is
more real than anything else, the big fundraising gala is now imminent. The
Samsa family asks for evening dress.

For eight weeks at the beginning of the first Lockdown, the artists dealt with
Kafka's Metamorphosis and looked for an artistic exaggeration for their
isolation.


Concept, Staging, Scenography: Julian Mahid Carly
Video and Audio: Julian Mahid Carly
Performance: Dominik Tippelt, Joao Kreth d`Oray, Jannik Süselbeck, Luzia
Oppermann
Dramaturgy: Lena Meyerhoff

ADK Baden-Württemberg
2020




















WORKSHOPS



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QUEER DEKOLONISIEREN (WORKSHOP)

How do colonialism and orientalism shape the ideas and norms of body, sexuality,
gender and national identity? On the basis of
examples such as #BlackLivesMatter, gay and lesbian tourism labels,
discriminatory
tourism seals, discriminatory legislation in former European colonies,
homonationalism
pinkwashing, racism on dating apps as well as positions from postcolonial
studies, we will investigate
how queer activism can become more intersectional and how our society could deal
with its colonial heritage from a queer perspective.

We will engage with the central ideas of Edward Said, Gayatri Chakravorty Spivak
and Achille Mbembe; and apply them to our own everyday life in Germany. Where do
we ourselves reproduce colonial structures? How do we describe travel to other
countries? Especially in relation to progress in terms of freedom rights. In a
next step,we will reflect on the role of the queer emancipation movement within
postmodern cultural and social sciences. 

Queercademy Berlin (Für junge queere Erwachsene in den ersten Semestern ihres
Studiums)
Akademie Waldschlösschen Göttingen (Angebot für angehende Lehrer*innen)
Arbeit und Leben Niedersachen (Sensibilitätstraining für Mitarbeiter*innen)
Pädagogische Hochschule Ludwigsburg (Blocksmeinar)
Studio Lev Kassel (Coach the Coaches)






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PAUSE! NOW POSE (WORKSHOP)


Movement research on cultural appropriation.  Participants are encouraged to
make movements together that are now considered problematic by some. Together,
the group asks how can a movement, a gesture, a rhythm be understood as racist
appropriation and what can be done about it?
In doing so, the group develops a utopian mini-performance with movements and
sounds that they mark as their own and mutually acknowledge each other's
up-cycling. 

Studio Lev Kassel









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ME:FRAGMENTA (COMMUNITY STORYTELLING)


World-building workshop in which techniques of creative collective work are
explored together with a changing group working on a storyworld. Writing
exercises, musical jam sessions, and dance improvisations are combined with
questions about the society represented, the aesthetics, and the feel of the
newly built world.

Studio Lev Kassel







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#DUGEHÖRSTAUFDIEBÜHNE (THEATRE PROJECT)


Theater empowerment workshop that explicitly addresses young people who so far
have had little conscious contact with art and culture and leads to a common
exchange in an extremely heterogeneous group through playing, rehearsing and
performing together about life-worldly, political and utopian concerns. 
In addition to and getting to know each other, we visit different theater
performances in Kassel, Germany. And we have follow-up discussions with
professionals. Finally, there is an intensive final week with a joint final
presentation.











REVIEWS,
TEXTS ABOUT MY WORK






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TERE MERE BEECH MEIN, I DONT KNOW WHAT THAT MEANS


(Wortmeldungen Award for critical short texts)


“Juli Mahid Carly writes about the impossibility of an organic perspective from
the Western diaspora on the "homeland" Bangladesh and one's own existence in
between. In an aesthetically sophisticated sampling of orientalist clichés,
pop-cultural references, and insightful observations, 'Tere Mere Beech Mein'—I
have no idea what that means—reveals colonial dependencies and ambiguities
within a transnational family network, sentence by sentence.” (Jury statement)

LINK



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KABALE+LIEBE


“It is also a piece about how one could view Schiller today. Suddenly, a huge
pearl necklace is unpacked that could have belonged to Schiller's mother and
might be looted art, acquired from slaves during the colonial era. Schiller's
life is excavated on stage because men of Schiller's status at that time were by
no means disdainful of "conquests" with girls who could not refuse.

And there really was a Luise in his life as a "young love" who had to enter a
convent in disgrace when her relationship with the poet was revealed. On the
other side, the poet laid his fingers on the double standard of the society in
which he lived. There's no question that in this play, the layers between the
original and Juli Mahid Carly's adaptation change so swiftly that one could
watch the play several times to gain a new perspective each time.”

(Oliver Fiedler, Singener Wochenblatt)




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A SWEET ESCAPE



“Under the title "Hansel & Gretel: A Sweet Escape," escapism meets a variety of
tangible problems: child poverty, eating disorders, diabetes, homo- and
transphobia. Carly throws everything into a wild ride through the Grimm
fairy-tale world. Because in addition to the usual suspects, there is also room
for Rapunzel, the wolf (who will later reveal himself as Jacob Grimm in wolf's
clothing), and Bernd das Brot.

The fact that this star of children's television is not from Grimm? Completely
irrelevant. Here, things are wildly associated and connected that don't actually
belong together. Carly is far from making pedagogical moralizing theater; this
is about a genuinely painful kind of fun.”

(Anne Fritsch, Nachtkritik)







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ANTI.AGING.APFEL


“The brilliant CEO Ilona Masc of Masc for Mascara and her assistant Shamini
Shamhaar-Schmidtke save the planet with their latest invention for eternal
rejuvenation, which turns out to be a microwave, or rather a time machine. The
project convinces with iconic pop culture references and a lot of makeup. As
confirmation, there is thunderous applause after the all-too-short 20 minutes.
The spectacle was more than refined and dripped with gender-fluid fun. Solely
because of this piece, I would seriously consider taking on the stolen future
again.”

(Lara Kastler, Subtext AT)




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FATA MORGANA




"All this is not real
One would never have thought that this funny song by the relentless EAV would
one day be honored in the theater, and then also in a production by young people
who were not even born when the song appeared. Now, however, the performance is
called "Fata Morgana", just like the sounding madness of that time. From this
alone one can gauge that the evening itself is so. Insane. And fast-paced,
except for a few places where it stands still.
Julian Mahid Carly wrote and directed the text himself, the first time at the
small Bühne 3 of Volkstheater München. There it is in exactly the right place,
because one has to imagine "Fata Morgana" best as a flash of inspiration,
elaborately but somehow implemented as if in the moment, which does not want to
have anything general. And lets four people play, sing, rave unleashed.

Everything can be bought, everything can be foisted on people.

It's about influencers who move to Dubai or other places in the Gulf, earn a lot
of money there, for which they pay very little tax, in return for which they
have to keep quiet about all the abuses that prevail there. Once there, however,
Stormy and Toni, two influencers who find themselves in adventurous thought
loops, encounter a strange institution called precisely Fata Morgana, which is a
kind of cloning lab for super-designed, influential manifestations on the
Internet. Fata Morgana, that is. Not real.
Everything is snappy, colorful, funny. Luise Deborah Daberkow plays Stormy as an
overwrought condensate of all kinds of influencers and their foibles; she is a
theatrical force, unsparing and accurate. Ruth Bohsung, whose Toni is repeatedly
tormented by intellectual impulses, does the same, Maral Keshavarz and Lorenz
Hochhuth are plenty crazy, but also very friendly rulers in the human
laboratory. Everything can be bought, everything can be foisted on people. At
the end there is the immediate product: You. With that, you can finally
advertise everything."

(Egbert Tholl, Süddeutsche Zeitung)




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MERMAID CUT




"Julian Mahid Carly's Mermaid Cut picks up on the current social debate about
gender, body roles and body images and takes them to extremes in an intelligent
and entertaining way. His staging is eloquent and witty, surprisingly different
and: very musical. (...) The male or female body, according to the conviction of
the director Julian Mahid Carly, determines our existence, our everyday life.
Carly's concern therefore: The complete deconstruction of body images."

(Cordelia Marsch, SWR)

"And yet everything was supposed to be so beautiful: The little mermaid
with her prince, and then she is lying on the floor of his fish restaurant,
wrapped in plastic film on the floor  and is stared at from all sides. A
sweating, human-sized sushi roll, which suddenly no longer wants to fit into the
image of the lovely princess. Ashamed by the disgusted looks, the prince finally
buckles and, instead of helping her he courts someone else. Doesn't sound very
fairy tale, does it?

Well, it's not supposed to. "Mermaid Cut," which premiered last Tuesday at the
Nord
is based on Hans Christian Andersen's fairy tale "The Little Mermaid".
But Julian Mahid Carly's play skilfully takes the material apart, confronts it
with itself and then embeds the components in a thought experiment: What if
theLittle Mermaid was not the image of the femininity to be worshipped, but -
God forbid - trans?

Gender inflates
The production combines its queer protagonist with an underwater
society of absolute tolerance. The kingdom of the sea king becomes
a world that abolishes the binary gender system, has made self-acceptance its
motto, and has proclaimed the end of constricting role models. The result:
people who, in their
utopia, hosting wild balls, recording TikToks, and constantly getting tangled up
political discussions. The fact that the community simultaneously grows and
suffers from this self-created discourse space is beautifully staged on stage:
The
gender - manifested in the form of a huge, dark-green plastic film
- inflates during the scenes, sometimes enveloping the characters on stage,
makes them stumble again or offers them a hiding place.

Freed from the fin
All of this, in all its shrill exaggeratedness, often has something pleasantly
irritating. "Mermaid Cut" provokes moments of getting out of sync,
in which the audience is jolted out of its comfortable everyday truths. What
would really be, for example, if there were no more attributions from the
outside? In some places this works works particularly well. For example, when
the evil sea witch Ursula - here a dubious underwater beauty doctor - frees the
mermaid from her fish fin and catapults her into the ideal of beauty of the land
society, this is a perfect performance, both in terms of acting and scenery.
Linguistically the play also benefits enormously from its self-deprecating pop
culture references:
Disney's "Arielle the Mermaid" makes an appearance, as do Judith Butler and
Netflix's "Queer Eye" series. All of this is realized on stage so quickly
and rhythmically  that an energy is created that is easily sustained hour and a
half. In this story, too, the little mermaid loses for the love of the
Prince, both her fin and her voice. Only a happy end the romance does not have.
And how could it, when the fairy-tale wedding is the symbol
of everything that "Mermaid Cut" wants to question? Instead, the production
succeeds in something else: the telling of a queer character who is to be taken
seriously, queer character."

(Sabine Fischer, Stuttgarter Zeitung)



--------------------------------------------------------------------------------


VERBINDUNGSFEHLER



"Julian Mahid Carly, the young author of Verbindungsfehler, is well versed in
the latest chat fads - and in racist and sexist agitation. He writes in a
youthful, casual, fast-paced language that illuminates the depths of real
emotional distress. He's mastered the art of making seemingly flippant blather
turn into genuine despair. To do so, he effortlessly commands a sea of metaphors
and poetic imagery."

(Christine Adam, Neue Osnabrücker Zeitung)

"In the text, AYALI, TAO and KAYA know all the discourses, correct phrases and
hashtags of the time. Nothing remains unspoken between them. They flirt,
debate, and shamelessly and obsessively discuss everything, even if they do not
get any closer to themselves. In between, again and again surreal (if it were
not so  so brutally real and present): A child with his mother drowning off the
coast of southern Italy. You avoid here any naturalism and any kitsch by
depicting the child not childlike, but almost poetically in a "high stage tone".
Precisely in the style of a contemporary identitarian then again the hate
language of the "patriot" 
The play is as realistic and safe as it can be in a world between digital and
analog.
Carly negotiates the great discourses of our time in the meta-level and makes
amazing arcs down to Seehofer's belly button. The opulent first work is
colloquial, then again lyrical, then elliptically internet-speak or awkwardly
like an amateur moderator.
We hear the language of self-absorbed tutorials in the
backfire of users or that of intimate conversations and confessions."

(Oliver Bukowski, Author)



--------------------------------------------------------------------------------


WEISSABGLEICH



"The film thrives on interesting actors and optical contrasts: while some
colorful, whimsical interludes are shown in a kind of "colonialism peep show" in
which Carly presents himself to his viewers in a soaring pose, the scenes in
which he gets advice and changes are kept deliberately sober. The content of the
film, the desire of skin bleaching becomes a personal concern that can affect
the viewers emotionally. For this, Carly uses his different antagonists, his
mother, as a good-natured but not understanding representation, the right-wing
extremist identitarian as the evil worst and the plastic surgeon, as the
capitalist who makes money with racism. The film constantly calls for
identification and demarcation, and does so with a variety of forms and speed
that seems thoroughly overwhelming, but also extremely funny and sensually
plausible."

(Johannes Koch, Ludwigsburger Kreiszeitung)










DRAMATURGIES // OUTSIDE EYE






--------------------------------------------------------------------------------


ATEMSCHAUKEL


by Herta Müller
(ADK Ludwigsburg 2021, R: Amanda Lasker-Berlin LINK)




After the end of the Second World War, 17-year-old Leo Auberg is deported to a
Soviet labor camp as part of the German minority in Romania. In the constant
struggle for survival between barracks, supervisors and physical exploitation,
Leo becomes another. There is only air to breathe when the hunger angel and the
heart shovel have a firm grip on you. We see through Leo's eyes how the other
prisoners struggle against decay, are punished, gain unfair advantages, grow
weaker, or die. We inhale through his lungs five years of alienation from what
was once home. While trying to put the unimaginable into words, the memory of
the experience appears as a constantly ongoing process.

VIDEOLINK




--------------------------------------------------------------------------------


GLÜCKLICH DIE, DENEN ETWAS FEHLT…


(Theater unter dem Dach 2021, Berlin, By: Sara Adina Scheer LINK)




Based on her own experiences in an evangelical free church and interviews with
companions Sara Adina Scheer reenacted an church service. In this ritual, the
audience is invited to witness a spectacle of self-inquiry. In various
characters, Sara Adina Scheer lustfully goes in search of an answer to the
question: Why do we miss things that we don't want back?

VIDEOLINK



--------------------------------------------------------------------------------


HEDWIG AND THE ANGRY INCH


(Studio Lev Kassel - Tresorfabrik 2017, R: Philipp Rosendahl, LINK)


The cult musical is combined here with an immersive spatial concept that makes
it possible to experience different locations of the narration from the
audience's space and does away with the strict separation of a peep-box. Hedwig
is a drag queen from East Berlin. She is more or less happy with her existence
as a washed-up starlet and asks herself not only questions about her own
identity, history and private future, but also philosophical questions, to which
she and her band try to answer with trashy rock music.The audience is invited
here to become part of the story, to co-authenticate the places and stations,
they thus become an integral dynamic and dramaturgical engine. Without an
audience Hedwig cannot exist, that becomes increasingly clear as the show
progresses. And so the revue-like biopic acquires a performative character of
the necessary simultaneous in space and time.

LINK ACCOMPANYING MATERIAL



A SWEET ESCAPE AT VOLKSTHEATER MUNICH (28.12/ 20./21. 1.)︎APRIL: KABALE+LIEBE
AT SPIEGELHALLE KONSTANZ ︎WE ATE THAT UP / FREIBAD AT THEATER UNTERM DACH
BERLIN
A SWEET ESCAPE AT VOLKSTHEATER MUNICH (28.12/ 20./21. 1.)︎APRIL: KABALE+LIEBE
AT SPIEGELHALLE KONSTANZ ︎WE ATE THAT UP / FREIBAD AT THEATER UNTERM DACH
BERLIN