BIOMECHANICS WORKSHOP at BREMER SCHAULUST AKADEMIE

03.04 and 04.04.2026

INFO AND REGISTRATION:

https://www.bremen-schaulust.de/01_termine/2026/2026_04_03_akademie_biomechanic.php

ONLY A FEW SPOTS LEFT!

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COMING SOON:

Workshop Biomechanics in Sao Miguel (Azores) / Beginning of June 2026

More info to come

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WEEKEND WORKSHOP BIOMECHANICS  

16.08 until 18.08.2026

at the Bundesakademie für Kulturelle Bildung in Wolfenbüttel

A weekend-workshop in the beautiful little town of Wolfenbüttel.

Dive into a 3 days workshop Biomechanics with accommodation in the beautiful little town of Wolfenbüttel.

The workshop is aimed at actors, dancers, directors, dance and theatre educators, acting teachers, project managers, and anyone seeking new aesthetic inspiration for their artistic work. Participants will learn a method for telling stories in a fascinatingly physical way, an approach to theatrical work that fosters intense expression.

No prior experience in Biomechanics is necessary, but a certain basic physical constitution and experience in working with one's own body are assumed.

Please bring comfortable workout clothes and sturdy sneakers.

GDBA members receive a 20% discount. Please provide your membership number during the registration process.

INFO and REGISTRATION under:

https://www.bundesakademie.de/programm/details/kurs/biomechanik-5/dk26-13

(in German)

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Berliner Festspiele / Theatertreffen 2025

'Die Gewehre der Frau Carrar der Frau Carrar/Würgendes Blei' (Berthold Brecht/Björn SC Deigner) directed by Luise Voigt and choreographed by Tony De Maeyer was honoured as one of the 10 most remarkable theatre productions in Germany and invited to the 'Theatertreffen 2025'

Critic by Erik Zielke in Neues Deutschland:

(English)

EXCERPT FROM THE REVIEW:

'Die Gewehre der Frau Carrar/Würgendes Blei' (by Erik Zielke: nd-Journalism from the left)

The fact that the production, despite its historicizing sound, doesn't become an evening visit to a museum, let alone a reenactment of a 70-year-old theater work, is thanks, among other things, to the compelling idea of ​​having the actors work biomechanically (choreography by Tony De Maeyer). Using Vsevolod Meyerhold's method of Biomechanics, they transform the stage action into a physical, artificially expressive performance in which nothing remains random but becomes a testament to the highest concentration. This concentration is transmitted to the audience. Voigt thus outwits Brecht, who struggled with the empathic nature of his own play. The audience does not succumb to the emotional turmoil of a warlike time, but follows the dynamics on the scene analytically.

(Deutsch)

Dass die Inszenierung dabei aber trotz historisierendem Sound nicht zum abendlichen Museumsbesuch wird und schon gar nicht zum Reenactment einer 70 Jahre alten Theaterarbeit, verdankt das Publikum unter anderem auch der überzeugenden Idee, die Darstellerinnen und Darsteller biomechanisch arbeiten zu lassen (Choreografie: Tony De Maeyer). Mit Mitteln von Wsewolod Meyerholds Methode der Biomechanik verwandeln sie das Bühnengeschehen zu einem körperbetonten, im Ausdruck artifiziellen Spiel, bei dem nichts zufällig bleibt, sondern zum Zeugnis höchster Konzentration wird.

Diese Konzentration überträgt sich in den Zuschauersaal. So schlägt Voigt Brecht, der mit dem Einfühlungscharakter seines eigenen Stücks haderte, ein Schnippchen. Das Publikum erliegt nicht dem Gefühlswust in einer kriegerischen Zeit, sondern folgt den Dynamiken auf der Szene analytisch.

LUISE VOIGT:

https://www.luisevoigt.com/

what happens as well...

Biomechanics Berlin on the road

Workshops by Tony De Maeyer

Choreography by Tony De Maeyer

what happened so far...

ARCHIVE

• 2022: 'Scene Study' at the 'Academy of Performing Arts' in Ludwigsburg (D)

• 2020 - 'KING LEAR' (W. Shakespeare) Theatre Bonn - Director: Luise Voigt - Choreography: Tony De Maeyer

• 2020 - Online Lecture with Tony De Maeyer about Meyerhold's Biomechanics at New International Performing Arts Institute (NIPAI) online conference.

• 2020 -'Scene Study' at the 'Academy of Performing Arts' in Ludwigsburg (D)

• 2019 - 'ANIMAL FARM' (G. Orwell) Theatre Heidelberg - Director: Luise Voigt - Choreography: Tony De Maeyer
• 2019 - 'KREDENZ' - Contemporary Dance Performance - Choreography: Beatrix Simkó - Hamburg/Budapest (H)

Would you like to learn more about Biomechanic Berlin?

Feel free to get in touch. We look forward to hearing from you.

Together, we look at the body in movement, posture, and tension to identify individual patterns and explore new ways toward greater balance, mobility, and ease.