Dance Review: Berliner Festspiele 2026

Throughout the year, the Berliner Festspiele organise festivals and art exhibitions, concerts, dance and theatre performances, readings, lectures and has been a staple in the Berliner culture scene since 1951. They are also responsible for the Performing Arts Season, a showcase for international performances of theatre and dance that focuses on the cultural dialogue between countries, interdisciplinary events and performance styles. 

While it is cold, dark and slippery in Berlin’s autumn and winter, there is no better way to spend some time than to visit the fabulous Haus der Berliner Festspiele, one of my favourite venues in Berlin, writes our arts reviewer Sabine Koch.

Fritz Bornemann, who designed the unique Deutsche Oper, was also the architect of this 1960s building which is stark and light in equal measure. This architectural gem should also be on your list of things to see in Berlin, and as it is also the main house of the Berliner Festspiele, you can combine architectural interest with a show –  a win-win situation.

The 2026 calendar has entries from South Korea, South Africa, Great Britain, Germany, USA and France. I had the chance to see almost everything and, while there were some not so great entries, I generally liked the performances and wanted to highlight the ones, that stood out for me.

Post-Orientalist Express

My absolute favourite was Post-Orientalist Express by South Korean choreographer Eun-Me Ahn, who danced with her ensemble and gave wonderful gravitas to an exuberant expression of her culture and resistance to outside influences.  She juxtaposes romanticising clichés with elements from legends and pop-culture, highlighting their inherent contradictions. The colours, the ever changing ideas, the technical innovation (special shout out to the stage design by Eun-Me Ahn herself) and the performance level of the dancers were simply breathtaking and took me to another world. Everyone left with a big smile on their faces. Will definitely look out for more of her work.

Ultimo Helecho

Another find was the collaboration of artist Nina Laisné, dancer François Chaignaud and singer Nadia Larcher.  In Ultimo Helecho, a performance that is carried by music, singing and dance all at once and, where Baroque meets South American folklore and mythology with brass music from live musicians on stage and folklorist songs as the basis for movement. François and Nina were singing and dancing and using the clever stage design to create a special scenery, that draws you in. The level of artistry of all involved was phenomenal.

The Great Yes, The Great No

Finally, The Great Yes, The Great No. A hybrid of opera, theatre, film, literature and sketches by South African artist William Kentridge in collaboration with dancers, singers, actors and musicians from his Centre for Less Good Ideas. We go on a trip from Marseilles to Martinique in 1941 with numerous artists and intelligentsia on board, all fleeing the impending doom of the 2nd World War. The use of all these elements weaves an intoxicating net of memories and projections. With the superb cast on excellent form, the evening sailed by beautifully.

As I mentioned earlier – not all performances were this outstanding, but the Performing Arts Season has a great ratio of hits to misses and even if some of the pieces are not your cup of tea – it will leave you intrigued.

Bravo Berliner Festspiele!