aktuellesBonni & Kleid - wenn man nicht bezahlt, was hat man dann verdient?
Junges Schauspielhaus Hamburg
premiere: 08.05.2025
OKLAHOMA
Thalia Theater Hamburg
premiere: 15.02.2025
Kohlhaas (Glück der Erde, Rücken der Pferde)
Theater Osnabrück
premiere: 19.10.2024
EINGELADEN ZU RADIKAL JUNG 2025
P*RN
Deutsches Theater Berlin
premiere: 20.01.2024
premieren
Ödipus Exzellenz
Theater Osnabrück
premiere: 31.08.2025
ABGESAGT
ELEKTRA - 750 PS Vergangenheitsüberwältigung
Münchner Volkstheater
premiere: 26.02.2026
Oersoep (a passion for the 21st century)
NITE Groningen
premiere: 24.10.2026
bio
Sofie Boiten studierte Theaterwissenschaft an der Universität von Amsterdam und Dramaturgie an der Hochschule für Musik und Theater Leipzig. Als freie Dramaturgin arbeitet sie mit verschiedenen Regisseur*innen in sowohl den Niederlanden als auch in Deutschland zusammen.
Eine enge künstlerische Zusammenarbeit verknüpft sie besonders mit dem Regisseur Lorenz Nolting. Als team konzipieren, schreiben und realisieren sie verschiedene Arbeiten und waren u.a. am Theater Osnabrück, dem Thalia Theater Hamburg und der Volksbühne-am-Rosa-Luxemburg-Platz tätig. Ihre Arbeit Kohlhaas (Glück der Erde, Rücken der Pferde) wurde zum Radikal Jung Festival 2025 eingeladen.
kontaktsofieboiten@outlook.com
+49 15566393381
Sofie Boiten
dramaturgie & text
arbeiten
OVER DIEREN (ON ANIMALS)
Movement composition after Über Tiere from Elfriede Jelinek, a theatrical exploration of the (female) body subjected to the male gaze
NITE Groningen (2022)
To exist only in the gaze of the other, how does that feel? The text On Animals by the Austrian writer Elfriede Jelinek (who was rewarded with the Nobel Price for Literature in 2004) and a group of male performers form the starting point of this visual, physical movement composition on ‘looking’ and ‘being looked at’. In On Animals, we hear a woman who is getting older, and as a result, is disappearing slowly. Now that her body no longer complies to the standard, it is as if she is no longer seen, which for her, equals not existing. Jelinek combines the text of the woman getting older with (real) phone conversations held between a Viennese escort service and its customers, in which women are spoken off as if they are merchandise.
This RAW-project explores how a complex text such as Jelinek’s can be made tangible, by connecting it to a strong physical language. The performers are displayed as living paintings caught between Francis Bacon-like fleshiness and the smooth cover of the LINDA magazine. Prey and hunter at the same time, both fair game and vultures behind glass. The style is raw and grotesque, the performance both a pamphletistic indictment and a love letter. Using text, music and the body as material, this performance examines how the dominant male gaze determines the behaviour of both men and women and questions if pure love is still possible in the age of consumption in which we live.directing Rebekka Nilsson
stage design Vera Selhorst
composition Luke Deane
director's assistance and dramaturgy Sofie Boiten
dramaturgy Florian Hellwig
performance Bram van der Heijden, Joost Bolt, Tim Linde, Felix Schellekens, Niels Kuiters