As part of Tanztage Berlin 2022, the film DOOM (THE MOVIE) can be viewed as video on demand in the online program on this homepage from January 17 to 22.
DOOM is a performance taking the form of a drone/doom-metal concert within an ever-shifting environment of vibrating hairs – and bodies. DOOM is an accumulation of grievances and a mapping of these grievances into an entanglement of snarls. DOOM is the foreboding of sounds shaking us, creating an obligation to imagine, to check, to envisage the connections between what we are in the habit of keeping separate. Even as apocalypses bloom around us, we dance non-stop and launch into a doom-metal concert, howling our approach to the end of the world – a collective grieving and celebration in the face of ongoing doom. We see, feel and hear the slow changes of an ending world and yet we propose a non-fatalistic way of attending to each other with care, imagining alternatives to the end-of-days scenario.
A text on DOOM by Maxi Wallenhorst has been published at >>>COVEN Berlin.
DOOM exists in the afterglow of the amazing work and legacy of Kathleen Hermesdorf (1967-2020) & Mariana Nobre Vieira (1989-2020).
DOOM lasts about 90 minutes without intermission and is without speech. At times the performers play very loud drone metal music, and often the sound is loud. Hearing protection is provided at the entrance. In some moments the stage and audience area are in complete darkness. There are bright, flickering light effects as well as strobe and heavy fog. The audience area is located on three sides and the audience is seated on these grandstands. There are two wheelchair spaces and one beanbag seat that can be reserved by phone or booked via the online ticket shop or at the box office, if available. If you have any questions or need further information, please contact Gina Jeske at or 030 27 89 00 35.
Click HERE to find information about our performance spaces and pathways, accessible restrooms, parking, directions to the theater, a 360° video tour of the building, and more.
Layton Lachman is a choreographer who creates performances rooted in somatics, channeling these experiential practices into immersive, sensorially complex worlds. Layton is committed to dance practice centered on group study and collective authorship — with the understanding that we are always collaborating with those who come before, after, and with us. After working in San Francisco alongside Abby Crain, Mara Poliak, Kathleen Hermesdorf, Sara Shelton Mann, and SALTA, Layton relocated to Berlin. For the past five years they have often been engaged with T.E.N.T. collective — creating experimental curatorial platforms — as well as developing their own choreographies. laytonlachman.com
Samuel Hertz is a composer/researcher specialising in sound and climate. Past performances on infrasound, acoustic ecology, and radiophonic lunar transmission have been presented in such venues as Palais de Tokyo (FR), Fylkingen (SE), Pioneer Works (US), Opera North (UK), and the National Science + Media Museum (UK). Hertz has authored nine essays on sound and environment, and his research currently happens within The School of Infinite Rehearsals/Onassis Future Initiative. samhertzsound.com
emeka ene is a performer born in London, raised in Berlin. He is lead guitarist and singer in the post-punk band Clear History and is currently undertaking a BA in Dance, Context and Choreography at HZT Berlin. His current interest is in cities, places and spaces, which he engages with through walking scores choreographed by celestial bodies.
Caroline Neill Alexander received her BA degree in Theater, Dance, and Performance Studies from the University of California, Berkeley. For the past five years she has been living and working in Berlin, developing her own work as well as collaborating with other Berlin choreographers and T.E.N.T. Collective. In her own work, she deals with the space between person and persona and the blurred reality of reality. Caroline’s aesthetic is physical, technical, horrific, comedic, beautiful and grotesque and always incorporating voice and text. These ideas were explored in her latest solo works Full Moonay, Sharterlla: House of Desperation, and The Oasis.
CONCEPT Layton Lachman & Samuel Hertz BY AND WITH emeka ene & Caroline Neill Alexander CHOREOGRAPHY, DIRECTION Layton Lachman ORIGINAL COMPOSITION Samuel Hertz COSTUMES Ivanka Tramp LIGHTING Gretchen Blegen DRAMATURGY SUPPORT Maxi Wallenhorst special thanks to Ethan Folk and Johannes Paul Raether, MINQ, Mara Poliak and Abby Crain, Philipp Bergmann and Thea Reifler, Matteo Graziano
A production by Layton Lachman/Samuel Hertz in co-production with SOPHIENSÆLE. With additional support from DIS-TANZEN and Musikfonds e.V. The 31st Tanztage Berlin is a production of SOPHIENSÆLE. Funded by the Senate Department for Culture and Europe. With the friendly support of Tanzfabrik Berlin e. V. and Theaterhaus Berlin Mitte. Media partners: Siegessäule, tipBerlin, taz and Berlin Art Link.