This workshop wants to think about audience participation immersive set ups and participatory perspectives on art making in a creative way that both challenges everyday interactions and is sensitive towards inherent power dynamics.

We will work on small scale interactive performance sketches and performative experiments and think about modi of interactivity together that’ll include concepts like consens, co-creation, improvisation, immersion, play and play testing. 

The workshop is for everyone who’s interested in interactive set ups – whether they already have experiences with them in their own practice or not. Maria is a dramaturg, theater maker and research assistant that dedicates most of her artistic experiments and theoretical research to collective performance making and interactive set ups. The practices shared in the Workshop will be parts of her own research, excerpts from texts of relating authors and material from long term collaborators and friends.

The workshop will be held in English but partial translation to German, if necessary, will be possible. The workshop will take place at Willy-Brandt-Straße 8+10. There’s no elevator in the building, more info on accessibility can be found on the Website of Campus Gegenwart.

For questions or ideas on the programme feel free to reach out to: maria.huber@hmdk-stuttgart.de 

Music by Morton Feldman, Marco Stroppa
Ricardo Eizirik, coordination guest project
soloists & echtzeitEnsemble

17 Uhr | Treppenhaus/Alte Musikhochschule, Urbansplatz 2

Yuanbin Cao (class Prof. Luxa M. Schüttler)
musik mit performance (Arbeitstitel, 2026) 
WORLD PREMIERE
Jeanne Fauveau, flute/bass flute
Henghui Liu, tuba
Anna Fiveiska, percussion

Konzert 1b | 18.15 Uhr | Konzertsaal
World premieres by Yuelin Peng, Selim Can Kılıçaslan, Ziqi Chen (class Prof. Marco Stroppa), Jaeduk Kim (Klasse Prof. Marco Stroppa/Prof. Piet Meyer), Yeonju Kim, Can Boerescu (class Prof. Luxa M. Schüttler)

Konzert 1c | 21 Uhr | P1/Musik der Jahrhunderte/Theaterhaus, Siemensstr. 11 am Pragsattel
Performances
Campus Gegenwart/Prof.in Britta Wirthmüller & Prof. Dr. Christian Grüny

Music by Morton Feldman, Marco Stroppa
Ricardo Eizirik, coordination guest project
soloists & echtzeitEnsemble


Morton Feldman (12.1.1926–3.9.1987)
I met Heine on the Rue Fürstenberg (1971)
for voice and instruments

Yukun Zhang (class Prof. Marco Stroppa)
feeding humans (2026) 
8-channel fixed media 
WORLD PREMIERE

Morton Feldman (12.1.1926–3.9.1987)
The Viola in My Life 2 (1970) 
for viola and six instruments

* Intermission *

Marco Stroppa (*1959)
élet… fogytiglan (1988–89,1998, 2014–15) 
dialogo immaginario fra un poeta e un filosofo
Imaginary dialogue between a poet and a philosopher for 15 instruments
6 modules, to be performed in different orders and combinations:
[1] (= alt I) Libertà e Potere (Vacillante, accanito) 
[2] (= alt II) Libertà e Violenza (Lancinante, inflessibile) 
[3] (= alt IV) Libertà come Indipendenza (Subdolo, inafferrabile) 
[4] (= alt V) Libertà della Fantasia (Scosceso, virulento) 
[5] (= alt »3«) Libertà del Pensiero (Volatile, frémissant) 
[6] (neu2014) Muri (Libertà dei Sentimenti: estremo, radicale) 


Konzert 2b | 20.15 Uhr | P1/Musik der Jahrhunderte/THEATERHAUS Siemensstr. 11 am Pragsattel
Anna Burova (class Prof. Luxa M. Schüttler)
N.N. (2026)
WORLD PREMIERE

PERFORMANCES
Camps Gegenwart/Prof.in Britta Wirthmüller & Prof. Dr. Christian Grüny

PANEL TALK
Host: Prof. Dr. Christian Grüny

* Intermission *

Ricardo Eizirik
Bodily Awareness as Identity (2026) 
& echtzeitEnsemble + co-created concept/piece
»Eizirik-Project« for a group of HMDK-students


Bodily Awareness as Identity is a workshop and concert format bringing together students from different disciplines to explore the body as a central site of meaning in performance and artistic creation. The project approaches bodily awareness as an identity-forming tool: for performers in relation to presence, aura, and interpretation; for artistic creation the body as a space to think about the usage of time and relations. Through a short theoretical introduction and practical exercises, students examine how bodily presence shapes conceptual thinking, artistic meaning, time- and spatial relationships, and listening/perception practices. And also how sound, space, scenography, movement and time affects the body (and our perception). The work invites students to engage in critical thinking and to engage with concepts of intersectionality and a postcolonial gaze, asking how bodies are perceived through historically and socially conditioned frameworks of gender, race, and cultural background. Exercises focus on
posture, gesture, stillness, movement, and scenography, as well as on the relationship between performers and audience. These explorations culminate in a collaboratively developed concert format that functions as an expanded performance situation, foregrounding bodily presence, visibility, and the shared responsibility of performers, composers, and audience in the production of meaning.