(c) Sinje Hasheider

Werwolves are neither humans nor animals. They exist outside of society. The body’s turmoil when suddenly transforming into another body is tearing the existing order into pieces. In a state of exception – while shifting the shape, the body shows its potential of being manyfold. BLUE MOON plays with the pop-cultural figure of the female werwolf like it appears in horror-, fantasy- and science fiction genre in order to let it resonate with the body in extreme states. Getting lost, infection, incubation and transformation are the phases the bodies are passing to reach a feminist vision of the werewolf and to transform the stage into scienfiction-wilderness.

(c) Sinje Hasheider

The werewolf has animal strength. She eats, she attacks, she rebels.

The werewolf has animal strength. She eats, she attacks, she rebels. She seduces, she hunts. She is anti-heroine and phantasm. Just like witches, werewolves were one of the figures fantasised in the Middle Ages to stigmatise and punish single women, heretics, strays or people with non-conformist behaviour and deviant sexuality as dangerous. Since then, the werewolf has been an archetype used in cultural history to mark the boundary between the “civilised” and the “wild”, the human and the animal, the norm and the other.

In BLUE MOON, the werewolf, which usually has a male connotation, is appropriated and transposed into states of female monstrosity. In a setting between torture chamber and slaughterhouse, the “gang” of 5 performers goes through different stages: they become excessively sexual and bestial, they tell seemingly innocent fairy tales or become judges of humanity. Sometimes they perform a cat walk, sometimes hooliganistic energy, sometimes they morph into a subjectless organism – thereby escaping any unambiguity and oscillating ambivalently between post-human human-animal and femininity clichés, between victim and perpetrator. The stage becomes an uncanny biotope in which film quotations from horror and science fiction films, representations of femininity and feminist-orgiastic bodies are omnipresent.


Rachell Bo Clark, Anca Huma, Sarah Lasaki, Lisa Rykena, Ursina Tossi

Ursina Tossi

Margarita Tsomou

Hanna Lenz

Nina Divitschek

Johannes Miethke

Ricarda Köneke


Lisa Ehlert, Anna Semenova Ganz

Helena Ratka


October 2018 | Kampnagel Hamburg

November 2018 | TanzFaktur Köln

March 2019 | BallhausOst Berlin

April 2019 | HauptsacheFrei–Festival | Kampnagel Hamburg


A production by Ursina Tossi in Co-production with Kampnagel, Tanzfaktur Köln, Ballhaus Ost Berlin. Supported by the Ministry of Arts and Media Hamburg, Hamburgische Kulturstiftung, Kunststiftung NRW, Stadt Köln, Landesförderung MKW NRW. Kindly supported by Huckepack Umzüge.