Antonia Baehr dedicates her latest work to an ever-present but mostly overlooked phenomenon of western theatre buildings: the obligatory illuminated emergency exit signs. Like many theatre artists, she has also made continuous efforts to suppress this “visual noise” that makes a real blackout impossible. Here, however, she makes them the stars of her lecture performance.
EXIT takes us into a sphere between light and dark, where the green glow confronts us with the supposedly fixed oppositions of “inside” and “outside”, “safety” and “danger” or “body” and “image”. It is a dream journey through the things that theatre tries to repress and the phantasm of the Western image of humanity it has helped to create.
is a choreographer, performer, filmmaker and visual artist. Her works explore the fiction of the everyday and of the theatre, among other themes. She works together with various partners, frequently in the form of switching roles: from project to project, each artist alternately takes on the role of either guest or host. Her long-term collaborators include William Wheeler, Valérie Castan and Lindy Annis, among others, and more recently Neo Hülcker and Latifa Laâbissi.
Her productions for the stage encompass Holding Hands (2001); Un après-midi (2003); Cat Calendar (2004), with Antonija Livingstone; Larry Peacock (2005), coproduced by Andrea Neumann and Sabine Ercklentz; Merci (2006); Rire / Laugh / Lachen (2008); Over The Shoulder (2009); For Faces (2010); My Dog is My Piano (2012); Abedecarium Bestiarium (2013); The Wildes (2014), coproduced by Keren Ida Nathan (Ida Wilde) and Henry Wilde (Antonia Baehr); Misses and Mysteries (2015), with Valérie Castan; Normal Dance (2016); Röhrentier (2016); Exit (2018); Consul and Meshie, with Latifa Laâbissi (2018) and Music for Dead Animals (ongoing series) with Neo Hülcker.