4 March 2019 FLUFF Movement Research at the Judson Church, New York
26-27 January 2019 FLUFF Ada Studio Berlin
2 December 2018


June Gallery Berlin

6 October 2018

CASCADE, version muséale

Things that Dance Symposium, University Karlsruhe

24 June 2018


Malta Festival, Scena Robocza, Poznan

8 June 2018


Performing Arts Festival, Ballhaus Ost Berlin
16 May 2018

Dirty Debüt/ Liquid Marble

Sophiensaele, Berlin
14 April 2018


Scena Robocza, Poznan Pl
6 April 2018


Goshka Macuga Studio, London
3-4 February 2018 CASCADE, version muséale Palais de la Porte Dorée, Paris
3-4 February 2018 TALK.TALK Palais de la Porte Dorée, Paris
26-27 January 2018 Quast&Knoblich - Nagelbar Cabaret Voltaire, Gessnerallee Zürich
9-10 January 2018 CASCADE Tanztage Sophiensaele, Berlin 

13-14 October 2017  

AIRY AFTERNOON StudioNaxos, Frankfurt am Main
6-8 October  2017 ZEGNAJ, OLIMPIO Scena Robocza, Poznan Pl
29-30 October 2017   CASCADE Mousonturm, Frankfurt am Main
28 June 2017 CASCADE Institut für Angewandte Theaterwissenschaften, Gießen
24-26 May 2017       Quast&Knoblich - Nagelbar FFT, Düsseldorf
4-5 February 2017 Quast&Knoblich - Nagelbar Schwankhalle, Bremen
1 January 2017 Tracklist: STIMMUNG 1 Sisyphos, Berlin
13-16 October 2016 The Greatest Show on Earth  Münchner Kammerspiele
30 September -5 October 2016 The Greatest Show on Earth   Nanterre Amandiers, Paris
21-23 September 2016 The Greatest Show on Earth  Sophiensaele, Berlin 
8-9 September 2016 TALK.TALK  StudioNaxos, Frankfurt am Main
1-4 + 7-10 September 2016 The Greatest Show on Earth  Frankfurt Lab/Mousonturm, Frankfurt am Main 
11-21 August 2016 The Greatest Show on Earth  Sommerfestival Kampnagel, Hamburg
29-30 April 2016 TALK.TALK Kunstverein Frankfurt am Main 
26 February 2016 TALK.TALK zeitraumexit, Mannheim 



„When all the lights in the empty theater are lit, a white sheet with the word ‚FIN’ comes down from above. The end! Applause! In this last image of an empty theater, in which lights are switched on only to emphasize the emptiness even more, there is something unbearably sentimental - but in the face of current political changes and terrifying cultural policy there is also a sinister element in it. I might be abusing my subjective perspective here however. After all, the last inventory is not a goodbye to the the building Olimpia - nobody is going to break or destroy it (for now). The stage is still working. Duncan, Krezel and Rößling perfectly show that each end gives a chance for a new beginning. I would like to add: and vice versa.“


Stanislaw Godlweski, Didaskalia Theatre Magazine, December 2017