Heidelberger Schlossfestspiele

This summer of 2015 I was responsible for the organisation of the castle festival in Heidelberg.

Born with the USATheaterspektakel des Orchester und Theater Heidelberg

Künstlerische Leitung Michael Uhl

Produktionsleitung Katharina Simmert

Assistenz der Produktionsleitung und der künstlerischen Leitung Sarah Thöle

Assistenz der Künstlerischen Leitung Deborah Raulin

Gestaltung Gelände Anna Wunderskirchner

Gestaltung Gelände Rosanne van Spaendonck

Presse Sonja Zirkler

Marketing Caroline Thiemann

Technischer Direktor Peer Rudolph

Technischer Produktionsleiter Jens Weise


Last year (2013) the American Miltary left Heidelberg with all its belongings. They left behind strange empty spaces where the gras grows and nobody comes to cut it - but also they left behind an empty space in the society of Heidelberg. The citizens of Heidelberg lost their friends, neighbors, colleagues and costumers. "The big brother" left after 68 years its home. What did he left behind? Whats left of the american lifestyle in Heidelberg?

The Theater und Orchester Heidelberg invites the public to visit the former Miltary Hospital area where everyone can search for their own answer to the questions about the american-german relations.

From the 3.10.2014-5.10.2014 the Theatre Heidelberg hosts a 7 hour long theatre spectacle about all kinds of aspects of american influences on Heidelberg.



live radioplay - diploma

When street-dance and breakdance became famous in the 1980s, the dances were related automatically to hip-hop. Up to now today not many people know that there is a specific subculture of dances – the Funk-style-dances.

Funk-style is the main description for various styles, which originated during the funk ära in the late 1960s at the American West-Coast.

It is assumed that the origin of the word funk is a combination of the Congolese word lufuki and the English words stank and stinky. The true origin and with it the exact meaning of the word can't be scientifically proved but it's use as an exclamation of appreciation or challenge in musical circumstances can be observed – in this cases the word always will have a dirty, sexual and insinuating flavor.


We are located in the year 1969, the time of the black power movement in the US.

The stage is so overcrowded by numerous, colorful and crazy-dressed, dancing people that it is impossible to determine their exact quantity.

A Hammond organ, a piano, two guitars, a base, a drum-set, various blowers such as a saxophone, a trumpet and a clarinet can be recognized on stage.

In front of the stage are the background-singers in marvelous glitter-dresses and of course the bandleader and mainsinger.

Each musician seems to play independenty but, nevertheless that chaos creates a distinct harmony. The omnipresent rhythm composes a platform of understanding.

With his rough, rhythmic and earthy vocals the singer engages the audience: “Get up, Get into it, Get involved!“

The audience answers with joyful excitement- nobody stands still.

All is mixed together creating a colorful vibrating whole. The moving people are reflecting the rhythm and the wildness of the music.

They let loose and dissolve completely – everybody is who he's supposed to be and all reunite on the One.



Musical features of ecstasy are:

simple rhythmic structures which repeat itself in minimal variations and deep pulsating textures completed by harsh and high-frequency modulations.

This acoustic stimuli causes a physical reaction, which consists of two different aspects: tension and tension release.

This separation is the basic technic of all funkstyledances. The body tenses to the rhythm of the music in order to create an accent, and when the body’s tension is released the accumulated energy will be dissolved into the lustful feeling of ecstasy.

Die Künstlerin Sarah Thöle arbeitet in ihren akustischen Werken mit der Verflechtung von realen Umgebungen, fiktiven Erzählungen und musikalischen Elementen, womit sie es ihren Zuhörern möglich macht ihre vertraute Welt aus einer neuen Perspektive wahrzunehmen.

Ihr Schwerpunkt liegt auf akustischen Spielformen zwischen Kunst und Medien, wobei immer die Frage im Vordergrund steht : Wieviel Aufmerksamkeit braucht das Zuhören und wie kann es durch das Hinzufügen anderer Elemente unterstützt und erweitert werden?



Based on her intensive studies of radio- and sound-art, space plays a central role in the work of Sarah Thöle. The history of a place provides the framework in which the reception of the story takes place. The integration of real-world environments, fictional narratives and musical elements empowers the recipient to perceive his familiar world from a new perspective. In collaboration with other areas of Media Art, Sarah always likes to keep one question in mind: How much attention is needed to listen and how can it be supported and enhanced by other elements? 


En sus obras acústicas la artista Sarah Thöle entreteje ambientes reales, cuentos ficticios y elementos musicales con la visión de permitirle al escucha percibir su realidad a través de nuevas perspectivas.

Trabajando en conjunto con artistas de otros medios ella siempre mantiene en primer plano la pregunta: ¿Que tanto énfasis necesita la parte auditiva? y, ¿de que manera puede ser realizada y ampliada a través de otros elementos?