:::::::::: Time out of Joint :::::::::: 2023 Time out of Joint is a grotesque varieté show of political speeches and a virtuos cacophonous concert of feminist struggles of the 20th century. In the mode of tactlessness, utterances by historically influential female* speakers are dissected, distorted, and recomposed. Dancing bodies explore rhetorical strategies as questions of rhythmic (re)arrangement and make voice audible as the battlefield of political representation. Shows: 8.-11.March 2023 Sophiensaele Berlin, January 2024 Maison de la Culture Amiens

::::::: DIE HÖRPOSAUNE - film ::::::: by Isabell Spengler, Antonia Baehr and Jule Flierl, set in a visual installation by Nadia Lauro. Through a floating camera motion, the film invites us to enter a world with its own logic, passing through sensitive membranes, liquefied borders and openings between inner and outer spaces. Here we attend a reading circle or vocal performance in memory of the counter tenor and queer icon Klaus Nomi, one of the first public figures to die within the AIDS pandemic. Daydream-like, as if to save them from oblivion, the film delves into the guts of fantastical, queer body imaginations - with spit, panting, oral sounds, singing, and vulva-like paper flower arrangements, whereby anatomical representations are reinterpreted. Premiere: 4.11.2022 Arsenal Kino Berlin, Installation: Videonale Bonn 31.3.2023 - 14.5.2023

:::::U.F.O. - Hommage to Katalin Ladik:::::: 2021 By Irena Z. Tomažin, and Jule Flierl. The Hungarian-Serbian poet and performer Katalin Ladik is considered the “Yoko Ono of the Balkans” and a pioneer of noise and performance art in Southeastern Europe: With the “SoundBodyPoetry” of her radical body art performance UFO Party from 1969, she shook the artistic scene at the time and established methods of experimental voice work and physical performance already in the 1970s. In their first collaboration, German sound dancer Jule Flierl and Slovenian choreo-vocalist Irena Z. Tomažin celebrate their shared interest in Ladik's artistic position: a homage that blurs the boundaries between poetry, acting and experimental voice work, while continuing the two artists' own research into the physical experience of language and the articulation of different layers of the voice. Shows: Sophiensaele Berlin, City of Women Festival Ljubljana, LEGS Festival Brussels, Trigger Festival Ljubljana, Sounded Bodies Festival Zagreb, Kondenz Festival Belgrade, Gibanica 2023 Ljubljana

:::Wismut- A Nuclear Choir::: 2019 A collaboration with Mars Dietz Wismut: A Nuclear Choir is a group sound-dance set within an environment of post-industrial metamorphosis. The Nuclear Choir is found growling, mumbling, singing and making its claims amidst the strange and irradiated detritus of the East Germany’s former uranium mines. Relationships between human, mechanical, ideological and ecological life forms cross pollinate the scene. What alternate social and ecological forms can take place here?

:::::DISSOCIATION STUDY::::: 2017 Dissociation Study is a grotesque dance for the face in which the synchronicity of the singing voice and outer articulation is undone into independent movers. Dissociation describes a mental state which is seen as disorder. This practice of dissociation strives for overcoming the paradigm of the holistic body, proposing a challenge for the perception of a vocalizing body, and is an empowering game for the performer. The body of the future doesn’t make analogue sense and moves into many directions at once. This piece is inspired by vocal dances by the 1920’s grotesque dancer Valeska Gert. It was shown at LuckyTrimmer and Montag Modus Berlin 2018, won the prize for choreography at the SoloDanzaFestival Frankfurt/Main 2019, was shown at the opening of Steirischer Herbst 2019 and is part of the 2020 online exhibition "Viral Portraits" of MG+MSUM Ljubljana.

:::::A SOUND HAS NO LEGS TO STAND ON::::: 2015 : A sound has no legs to stand on”- inspired by this quote by John Cage, Jule Flierl installs a spatial sound score on the stage. The old question of the relation between dance and music finds a perspective in the voice. All sound stems from the performers, whose sounds reveal their physical state. The voices are present and at the same time invisible like ghosts. Sounds with legs, a sound that stands in the room, two-legged sounds. PERFORMANCES: CCN Montpellier 2015, Tanztage Berlin 2016

:::::::::: School of Attunement and Tactlessness :::::::::::::: 2022 The “School of Attunement and Tactlessness” invites the public to witness five performers exploring the rhetorics of rhythm, conventions around tact and tactlessness as well as states of musical and social attunement. Each performer carrying a distinct dance history within their body-archive, the group develops paralinguistic dances with feet, hands and tongues to navigate through the choreographic landscape together. Tuning into each other’s dances and stories, they form a choir made of protagonists. Choreography: Jule Flierl Performance: Ayşe Orhon, Parvathi Ramanathan, Priiya Prethora, Shai Faran and Sonya Levin Shows: 20.-23. July 2022 Fortuna Wetten, Berlin Neukölln

::::::::::: Die Hörposaune - live ::::::::::: 2022 By Antonia Baehr and Jule Flierl in a visual installation by Nadia Lauro. Another dimension of the material-sensual modes of encounter and relationship unfolds: Drag King Werner Hirsch (aka Antonia Baehr) and Jule Flierl enter into interaction and resonance with each other and with the objects - until the boundary between the body's interior and exterior, between the living and the inanimate, begins to flicker and blur. Shows: 14.-17. September 2022 at Theater Delphi, Berlin.

::::::::STÖRLAUT:::::::: 2018 Jule Flierl’s vocal dance performance STÖRLAUT is a futuristic and speculative new interpretation of Valeska Gert's "sound dances." Flierl uses advanced vocal techniques to remix Gert's historically groundbreaking work into a poignant proposal for our time. Through squeaking, roaring, stuttering, yawning, and other forms of utterance, STÖRLAUT's solo dances question the expression of an authentic self and shatter the holistic body. Future corporeality will not make analogue sense – it moves in multiple directions at once. Premiere: April 2018@Charleroidanses_Bxl. Shows: Rencontres chorégraphiques internationales de Seine-Saint-Denis, Schaubühne Lindenfels, Sophiensale Berlin, NEXT Valencienne, GrandHuit Nantes, Tanzplattform München 2020, Szene Salzburg 2022, Maison de la Culture Amiens 2023

::::MENSTRUAL METAL:::: 2019 Menstrual Metal is the experimental practice of a movement choir based on the extreme obsession black metal music has with the taboo appearances of liquefaction, excretion and disintegration in the human and non-human body. It researches, critiques, estranges and examines the discourses and practices of this genre with the goal of putting the queer-feminist scope to the test. Jule Flierl’s previous work on dissociation and disintegration of the voice and body serves as the foundation for the collective exploration of contradictions and strategic potentials the genre of “Menstrual Metal” finds itself entangled in. August 2019 at Uferstudios_Berlin

:::::::d!ssoc!at!on_study_2:::::::: 2018 für 3 Stimmen | for 3 voices (documentation full lenght) COMPOSED BY: Jule Flierl PERFORMED BY: Christian Kesten, Steffi Weissmann, Ariane Jessulat/ Maulwerker Ensemble.

:::::I INTEND TO SING::::: 2017 What is dance about the voice? I INTEND TO SING is an artistic manifesto that moves between doing, asking questions and re-doing historic vocal dances of different eras. The performer maps out a field of content, within which the audience is placed as part of a landscape and witness. PERFORMANCES: Amazonas#1 Sophiensaele Berlin, The World is Sond Symposium Agoara Berlin, Performing Arts Festival Berlin, CHB Berlin, ZDC Zagreb

:::::OPERATION ORPHEUS::::: 2016 dissects an opera and dislocates the organs of cultural memory. Jule Flierl choreographs the act of inhabiting outdated shapes to subvert prevailing taste. “But we all know romantic ballet is a fairy tale long gone, a ghost from the past… The dance becomes an odd voodoo ritual, waking up romantic ballet from the dead. It is but a moment though: almost at once, the dancer also becomes an opera singer in a most convincing, intimate interpretation of Gluck’s ‘Orfeo’.” (P. T'Jonck) PERFORMANCES: CCN Montpellier, La Panacée Montpellier, Dock11 Berlin, InBetween Festival Wroclaw, Impulstanz Wien, Untimely Tehran, Tanznacht Berlin, GrandHuit Nantes, ElChopo Mexico City