Registration for Performance Venues/Event Locations for the 2020 PAF Programming Series

In order to apply to contribute a production to schedule of programming for the 2020 Berlin Performing Arts Festival, we ask all performance venues / event locations to fully complete this online form and submit it by December 1, 2019.
Artists without a performance venue / event location cannot apply unless they are working in public space or with site-specific art. If you are applying with work that takes place in public space or with site-specific art, we ask you to please write to us directly to the email adress mentioned below instead of completing the form. You can find additional information and instructions in the FAQs.

We are also happy to answer questions you may have; please send them to programm [at]

Presenter/Contractual Partner

We will use the information you provide to prepare the contract for participating in the festival. You can find more information about the role of the presenter/contractual partner in the FAQs.

Adress of the contractual partner

Performance Venue/Event Location

Please provide this information if it is different from that of the presenter/contractual partner.

Contact Person

Please provide this information if it is different from that of the presenter/contractual partner. This person shall serve as the point of contact for all questions that arise over the course of the preparations for the festival.

Contact Person Ticketing

If there is another contact person for issues concerning ticketing, we will contact them directly.

Contributions for the Schedule of Programming

Yes, I/we offcially and bindingly submit a contribution for the 2020 PAF Programming Series.

Choice of Programming Series (only one choice is possible)

An artistic position can only be submitted for one theme.

Series of Programming
Climate change, a political shift to the right, the destruction of habitats, the dethroning of the privileged white man complete with heteronormative notions of lifestyles and concepts of love with brown coal excavators at the gates: a world under threat has become a part of everyday life! The performing arts analyze this, think about it, document it, make appeals arising from this, call for support, pledge to fight against it, write, dance ... and deal with the topic on stage or in public space. In this topic, all works are invited that turn an alert eye to sociopolitical questions in a world at risk.
Our perception is a construction and the construction in turn is subjective, the result of our times and our consciousness. Too few constructions have previously been shared, too few histories have been written, too few alternatives have been offered. Fight! - or shake off what is getting in the way of the new and blocking another way of thinking about our world. Within this topic, we are searching for positions that are dedicated to outrageous perspectives and perspectives that have gone unheard that think about the past, present and/or future differently and provide a new narrative, reassess and reinterpret current events as well past ones.
Was passiert, wenn Stadtraum und -gesellschaft neu gedacht werden? Berlin, die Stadt, die wie keine andere in Deutschland Geschichte atmet, die ihre Schönheit durch die Architektur verschiedener (politischer) Systeme gewinnt und ehemals Freiräume, also freie Räume hatte, ist stickig geworden. Es wird eng auf dem Mietmarkt, und der Raum für nicht kommerzielle oder alternativ ausgerichtete Initiativen wird immer knapper. Wie (zusammen) überleben in der Berliner Luft der Gegenwart? Resignation ist keine Alternative für Kunst-Positionen einer freien Szene, die geradezu alle Orte der Stadt für ihre Projekte nutzt. Raumgreifende Positionen stehen im Mittelpunkt dieses Themenfeldes.
The people on the subway in permanent monologues with their cellphones, the old man, dead and rotting away in his apartment, the new arrivals, straying through the streets, the single mother fighting her way through the swamp of bureaucracy, the homeless person with their story and their unconventional scent. The punch to the punching bag, the scream from the window that fades out. Alone together. Curse and choice. Suffering that can be sung, danced, written, celebrated, but also actively challenged. Stay on your own, have fun and join the duet by myself. This topic is searching for positions.
Technologies, algorithms and digitalization determine our lives today more than ever before. Online platforms know what we want to order, who our friends are and read our e-mails; virtual assistants give us advice and listen to us; the beloved smartphone is bank card, communication tool, alarm clock and much more in one. The transfer of human capabilities to machines and robots constitutes one of the biggest fields for experimentation in our future and the questions of where the human stops and the machine begins or of whether the cyborg, the machine that is “more than” human, needs to be addressed are being discussed in a variety of ways in society. The views of whether the future with the development of technologies means the beginning of a better life for humanity and if groundbreaking technologies can lead to more participation by those who are currently excluded or if, instead, that the human being is now standing at the beginning of a dystopian era in which it will soon be dominated by a super intelligence stand in opposition to each other. Artistic positions examining post-humanity, digitalization and the question of how, when and in what way one can communicate with objects and non-human entities have a place here.
Money makes the world go round – that’s true for everyone that has it, manages it or makes decisions about it. But not for those who need it, don’t have it and also can’t get it due to a variety of structural reasons. At the end of the day, the fact that a flat screen television can travel through the world more quickly and more safely than a human being who has to leave their country of origin to make their life elsewhere always concerns business, exploitation and the unfair distribution of capital. The fact that an old man has the power of the state without being capable of statecraft or perhaps without even being aware of it is due, amongst other sources, to his financial capital and the power resulting from that. The facts that we are more stressed by the thought of losing our jobs than by the knowledge of all the human beings currently being without a permanent residence and the opportunity to participate in social life is the result of a social system of exclusion based on money and wealth. Swansongs, declarations of war, shattered loyalty – this topic is open to artistic positions that seek to examine the structural power of capital/capitalism.
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Type of Contribution to the Schedule of Programming
Is admission charged for the performance?

Legal Consent

I hereby confirm that I have read the instructions and information in the FAQs and that I am authorized to participate.
Yes, I hereby give my consent for my contact information (name and email ad- dress) to be provided to the accredited visiting industry professionals attending the festival in the form of a list.
I consent that, in the event of participation in the festival, this information will be edited and published in the festival materials (e.g. program) and online (website).
I also confirm that, to the best of my abilities, I work and advocate for fair production conditions as well as fair remuneration of the artists whose work I present as well as my staff.

I hereby confirm that I hold all publication rights for the information submitted. We treat all information entrusted to us with care and respect and use it solely in order to implement the festival (selection process, application/announcement, coordination and documentation). By submitting the form, I grant LAFT Berlin the necessary rights, free of charge.

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