In the organizer's words:

Host Club -LaustArt Standing

Dance performance by bodytalk

for viewers aged 16 and over

"Host Club" is a successful business model from Japan: handsome men take care of the needs of female guests. The business strategy is to get the audience "hooked". Success is measured by revenue - that of the guest and that of the host. What can we as artists learn from this type of audience development? How can we become a successful stage ourselves?

Host club business and theater are both night businesses that vie for the audience's money, the dark matter of culture. At Bodytalk, participation becomes party participation, happening becomes happening.

Are you ready for my moneyfesto?
Let's get started - but presto!

We are just as you want us to be!
We fulfill all your wishes!
You don't have any?
Then we'll tell you what you want!
And have arrived in the host age.

Living in the host age
Feeling like a hostage
Open up the new page
Always close to the edge
Is there life onstage?
Or is it nothing but a cage?

Did Erik Satie really elevate throwing tomatoes and rotten eggs at singers on stage to an art a century ago? If so, why? And if not, why did this erroneous assumption come about in the first place? Let's be careful not to dismiss incomprehensibility as satire: If the audience is asked to throw coins on stage, they may suspect a conspiracy to collect change for cabaret. But when it comes to change, we wonder what this is supposed to mean in times when the restoration of artificiality is being invoked. When hearts are the currency, everything is set for an evening of heartcore.

"Bodytalk wouldn't be Bodytalk if they limited themselves to pure illustration. And if they didn't incorporate breaks. As the dance tempo increases, there is more and more naked skin and explicit poses, until the whole thing threatens to degenerate into a battle of all against all." Münstersche Zeitung

"Comedy and seriousness alternate at a breathtaking pace in this exuberant round dance of images with its incommensurable chains of associations. ... Everything seems to happen on top of, next to, under and on top of each other. Un(t)graspable! The breathless final volute, in which prostitution is formulated as the future of art in the face of declining funding, is completely lost in the expressive tomato and water fight on stage. After their search for the dancefluencer in their last piece, this is a logical development. Bodytalk remains an energetic bulldozer that buries everything under itself with its sprawling aesthetics." tanznetz

"... rousing, high-speed and visually stunning dance theater." Westfälische Nachrichten

On stage Bartosz Przybylski, German Hipolito Farias, Martijn Joling, Pawel Malicki, Tirza Naomi Ben Zvi, Mareike Fiege, Yasin Wörheide, Timo von der Horst, Nanako Oizumi, Momoko Baumgart, Yoshiko Waki, Rolf Baumgart | production management Mareike Fiege | live music Yasin Wörheide | set design Yasin Wörheide, Nanako Oizumi | technical direction Timo von der Horst | video Momoko Baumgart | choreography Yoshiko Waki | direction Yoshiko Waki

Yoshiko Waki comes from Japan. After various engagements at state and municipal theaters, she brought Johann Kresnik to Berlin to the Volksbühne am Rosa-Luxemburg-Platz; until his death, she worked closely with him, also as a choreographer, as well as with Christoph Schlingensief and Vivienne Newport. She has been creating her own dance (theater) pieces since 1990. In 2008, she founded the ensemble bodytalk with remnants of the Choreographisches Theater Johann Kresnik-Compagnie, which was wound up at the Bonn Opera, which has been artist in residence at the Theater im Pumpenhaus in Münster since 2016. bodytalk receives excellence funding for dance in NRW and its works have been awarded several prizes: Kölner Tanztheaterpreis (multiple times), Leipziger Bewegungskunst-Preis, Bremer Autoren- und Produzentenpreis, most recently bodytalk received the main prize at the International Shakespeare Festival in Gdansk for Romeos & Julias unplagued (co-production with Polski Teatr Tanca). The credo of their work is: "What happens when dance and reality collide?"

A production by bodytalk in co-production with Eisfabrik Hannover and Theater im Pumpenhaus Münster

Supported by the Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media, the Ministry of Culture and Science of the State of North Rhine-Westphalia and the Cultural Office of the City of Münster.

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