How do we measure fragility? And what are the cracks, visible and invisible, tangible and imperceptible, that run through our bodies? Kintsugi is a Japanese method that does not hide repair work on pottery, but rather emphasises it with gold lacquer. Thus, the scars become a recognisable part of one’s own life, they become ornaments. And they give us an opportunity to question established views of what is intact and what is defective. Joined by a team of dancers and performers with disabilities, choreographer Alessandro Schiattarella sets out to look for these points of fracture. Through dance and text, sounds and objects, they illustrate how dealing with one’s own fragility can become a political message, a vision of a special awareness. They encourage us to make new experiences: We know the sound of something breaking. But what is the sound of saving something from breakage?

BREAKING POINT: From Exclusion to Inclusion

What does it mean to consider barrier-free accessibility in producing (art)? Which structural conditions must be created to enable inclusive work? ZER-BRECH-LICH is the first part of a two-season project entitled Breaking Point; its company is mainly made up out of artists with disabilities who create their artistic processes in a self-determined, self-confident and exclusive way. At the same time, they impart their knowledge and lay the foundations for future inclusive co-operation where they will be in charge. Established (and possibly ableist) power structures are opposed with empowerment. With the support of the Federal Cultural Foundation’s JUPITER-programme, the aim is to promote theatre for young audiences across the disciplines and to achieve greater awareness of their own qualities.