La Nacion interviews Constanza Macras

WhatsApp Image 2021-01-22 at 04.25.06

After an absence of 4 years, Constanza gives an interview to the main national newspaper La Nacion in Buenos Aires and talks about her creation at the international festival Santiago, about performing arts in times of crisis and public aid to support culture in Germany.

To read here.

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Watch again the stage version of Back to the Present (2006) at the Schaubühne Berlin after the success of the site-specific in the old department store, Kaufhaus Jahndorf in Berlin Mitte!

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© Thomas Aurin

by Constanza Macras | DorkyPark

27th January 2021, 18:00
28th January 2021, 18:00
29th January 2021, 18:00
30th January 2021, 18:00

Watch the streaming of Megalopolis on the Schaubühne website.

MEGALOPOLIS is not a specific, but a metaphorical place. The scene is the city under the impact of globalism. The city is characterized by the illegibility of today’s megacities, born into chaos. Its features are unbridled growth, decay and endless disbandment. The city’s density and tightness dissolve the borderline between the private and the public sphere- it almost disappears. At the same time, this boundlessness forces us to perceive the city as a collage which consists of countless biographical scraps. The fight of two street vendors for the best spot is an existential confrontation today – but will be forgotten tomorrow. Megacities are a paradigm for spaces in which people live without knowing each other. The ever present surveillance system not only constantly creates supervised beings; it also produces a new form of self-perception. Thus, a person’s body transforms into an expressive device that creates as well as destroys systems and rules. Which correlations are still valid here? Will the urban development follow principles unknown to us? Is the discernable decay of social relations a cause or an effect of our cities‘ apparent deterioration? MEGALOPOLIS is a promise and a curse. MEGALOPOLIS is a beaming city. MEGALOPOLIS is an uncontrollable construct, constantly in motion.

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Capture d’écran 2021-01-18 à 13.23.12

by Constanza Macras | DorkyPark

@ El Centro Cultural Gabriela Mistral (GAM), Santiago, Chile

Premiere 20th January, 17:00
21st January, 17:00
22th January, 15:00 (Streaming)

For ticket info, click here.

In the past two months, Constanza Macras has been working remotely and in person with Chilean performers for a complete new version of her shows ALBUM / THE POSE. The show is being produced and having its world premiere as part of the Festival Santiago a Mil 2021. Together with the cast from Santiago and DorkyPark dancer Miki Shoji, she has worked on the performers’ personal history and material, creating a new and unique version of Album/The Pose while continuing to work on the themes of photography, memory and architecture in the unique atmosphere of the GAM in Santiago.

Constanza Macras divides this show into three parts, contrasting both dimensions and through her renowned interdisciplinary work that mixes dance, music and text and video montages. The first is about self-representation in the digital era; an abstract composition of images and GIFs follows, something very much influenced by artists such as Jeff Wall and Gregory Crewdson. The last part involves the composition of an analog image and as much complex narrative as can be transmitted by a single photo.

Santiago a Mil is a 3-week festival that welcomes all approaches and cultures. It’s an invitation to take part in unique events, share unforgettable experiences and to start conversations based on multiple artistic form.

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Open for Everything

Costume and props sale at Constanza Macras / DorkyPark

Costume and props sale at Constanza Macras / DorkyPark

Your wardrobe is crying for new looks? Do you need costumes for a new show? Constanza Macras / DorkyPark is hosting a big fundus sale!!

At our big sale on 31th October in Studio VERLIN, you can browse through some of our costumes, dresses and props. Everyone is welcome in our studio in Klosterstraße between 12 and 16 o’clock

Entrance with masks only. Limited number of visitors in the room. Sufficient air circulation and disinfectant will be guaranteed.

At a glance: 
What: Costumes and props sale at Constanza Macras / DorkyPark
When: Saturday, 31 October 2020, 12:00 – 16:00
Where: Studio VERLIN, Klosterstraße 44, 10179 Berlin
Admission: Free.

Kostüm- und Fundusverkauf bei Constanza Macras / DorkyPark

Eurer Kleiderschrank schreit nach neuen Looks? Ihr sucht nach Kostümen für eine neue Show? Constanza Macras / DorkyPark veranstaltet einen großen Fundus sale !

Am 31. Oktober könnt ihr bei unserem Kostüm- und Fundusverkauf im Studio VERLIN durch einige unserer Kleider, Kostüme und Requisiten stöbern. Zwischen 12 und 16 Uhr sind alle herzlich in unser Studio in der Klosterstraße eingeladen.

Eintritt nur mit Maske. Begrenzte Anzahl an Besuchern im Raum.
Für ausreichende Durchlüftung und Desinfektionsmittel ist gesorgt!

Auf einen Blick: 
Was: Fundusverkauf von Constanza Macras / DorkyPark
Wann: Samstag, 31. Oktober 2020, 12:00 – 16:00
Wo: Studio VERLIN, Klosterstraße 44, 10179 Berlin
Eintritt: Frei.


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In June, we were one of 28 independent dance companies chosen to participate in Reload Scholarship Programme funded by the German Federal Cultural Foundation (Kulturstiftung des Bundes). Under the curation and dramaturgical assistance of Constanza Macras, six long-time associates of DorkyPark cooperated in the project THE IMMATERIAL to carry out research about the consequences of the COVID-19 crisis.

As an immaterial threat, the crisis is global and egalitarian, but its material effects are local and asymmetrical. It materialises the social and economic structures of inequality that define our society. The crisis has shattered the democratic illusion and brought differences to the fore. How can we, as a group that has conceived its artistic practice as a medium of social change, influence society without the ritual of performance? The immaterial is a metaphor for the invisible forces that shape our lives.

Two thematic complexes are in the foreground: the question of the local and the global and the relationship between ‘others’ and ‘self.’ The current crisis of the social – as a crisis of material life aimed at survival – is confronted with an increase of the global immaterial, whereby traditions and rituals gain completely new dimensions. Starting with the connection between tradition and representation – performative, photographic, – and its relevance for the representation of the ‘other’ and one’s own identity, we question how tradition and identity change when rituals are immaterialised. How does the shift to the digital space (zoom funerals, Skype fairs, online confessions) change ritual and spiritual practices?

Tamara Saphir and Miki Shoji focus on current social dynamics that are changing the way we perform spiritual rituals worldwide.

Sivani Chinappan descends from Indian immigrants in South Africa. With reference to traditional dance styles such as Bharathanatyam, she asks whether, in an era where space and mobility are limited, local traditions can represent forms of liberation that do not reinforce ethnic-cultural boundaries but can acquire global significance as positive forms of the intangible. Can reflection on one’s own body, the ‘inner journey,’ offer abstraction from the outer limits of the crisis? Can assimilation and transformation of local practices succeed in overcoming the national or colonial borders that are currently gaining in importance again? This marks the transition to the question of the global and the local – to the question of whether the crisis divides or unites us.

The global developments are similar above all in their negative effects, e.g. in the global increase in domestic violence. To what extent does this materialise structures of toxic masculinity, violence, and sexism, and on the other hand make this privatized and invisible – especially when the victims are locked up at home with their abusers? Mandla Mathonsi and John Sithole analyse these questions. Both work through contemporary dance to manipulate martial notions of masculinity and power in traditional dances in order to transform the archaic notions of masculinity.

Fana Tshabalala asks how technologies can harness the critical or empowering effects of the intangible to the benefit of art. This means asking about the current responsibility of art and the aesthetics of crisis.


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We have used these strange days to review the memory chest and release some of DorkyPark’s most beloved works on the Internet. From last week and until the end of the lockdown, we invite you to watch HERE / AFTER, BERLIN ELSEWHERE and BACK TO THE PRESENT online.

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