Thursday evening: Climate Pop-Up Theatre

Performers and authors from Asia, Africa, Australia, America and Europe will bring an innovative show to the Global NDC Conference: the Climate Pop-up Theatre! Short drama pieces have been created especially for this conference, inspired by its themes and setting – although all conference participants are encouraged to replicate the show and set up a climate pop-up theatre in their home country.

During 30 minutes, conference participants will dive into an emotional sea with theatrical islands of hope, transition and network. The performance will lead you to the power of women and of theatre to create utopian narratives of near and far future(s) as well as into deep insights of unknown realities.

Everyone is invited to reflect on their roles in creating these futures and the narratives needed to tackle the climate crisis: What motivates and drives you and me? The society? The world? How can you reach the audience you need in order to transform current realities?


The climate crisis has assumed dramatic dimensions. Theatre can be a place of self-assurance, a part of cultural memory and also a venue for dealing with urgent problems in society. Plays touch people on a direct, emotional level and can function as an indicator of the local significance of a particular theme. The more countries in question are affected by the consequences of climate change, the more the theme is treated on stage.

Anthropogenic climate change and the conflict between nature and human being are not only dramatic but also quite theatrical, which becomes evident from the multifaceted works of the theatre people in different climate regions. Global society is about to face one of its greatest challenges, one which will have an enormous impact on the preservation of peace. The stories staged in theatres offer audiences the chance to gain a very personal insight into local problems. The language of theatre links people worldwide, and international networking has the potential to enable visions of a just future to be worked out jointly and irrespective of national borders and interests, coalitions to be formed, and mutual responsibility to be taken.

If you want to reach out to the theatre group, please send an email to

Natalie Driemeyer:

or Anita Demuth from the conference planning team:



Natalie Driemeyer is the curator of the climate pop-up theatre. She is the founder of the world-climate-theatre, connected to theatre-makers all around the world who are working on the topic of climate change or the relation between nature and human beings (if you like to separate). She created the international festival “Odyssey : Climate” and describes how differently the topic of climate change is treated in theatres internationally. In the framework of a one year research trip in Southeast Asia and South America, examines how theatre people worldwide deal with anthropogenic climate change in their productions. And she created, along with local artists, performances like the Climate Walk through Nitiprayan (Indonesia). Since 8 years she is working together with international scientists like from the Potsdam-Institute for Climate Change on different projects. Since 2018 she is dramaturg at the Hans Otto Theater Potsdam.

More information about World-Climate-Theatre:



Anita Demuth is advisor on climate policy at the Gesellschaft für Internationale Zusammenarbeit (GIZ) in Berlin. Being part of the Support Project for the Implementation of the Paris Agreement of the International Climate Initiative, she was part of the core planning team of the Global NDC Conference in 2017 and 2019. In this role, she co-created the concept for this international performance and coordinated between the planning team and the theatre group. For more than 7 years, Anita has been working in development cooperation in several countries. During her studies of economics and political science, she also dived into creative work with language and visuals – back then in journalism and designing publications.



Anna Peschke is working as stage director for independent theatre projects in Europe and Asia, which cross the traditional borders of genres, finding new forms in the intersection of theatre, opera, installation, visual art and scenical concert. 2017 Peschke’s Project „Faust – a research through the language of Beijing Opera“ received the award „National flagship project for excellent theatre“ by the culture ministry of the Peoples Republic of China and the city of Beijing. In 2015 she won the „Award for theatre and dance of the city of Stuttgart and the province Baden-Württemberg“ for her work „The theatre of grass and herbs“. In 2011 Peschke received the „Berlin Award of Opera“. End of 2009 she finished her studies of Applied Theatre Science in Gießen (Germany) with best grades, under her mentoring professor Heiner Goebbels.



Sophia Stepf is a director, curator and the artistic director of the theatre company Flinn Works (Berlin). In her work, she explores the friction between globalization, cultural identity and local realities, focusing on feminist and postcolonial themes. Her performances have won awards in Delhi (META awards), Zürich & Kassel and regularly tour internationally. Sophia has created works with partners like Asedeva (Dar es Salam), Schnawwl Mannheim, Ranga Shankara Bangalore and the National School of Drama, Delhi. She develops and teaches intensive workshops for professional performers and non-actors on devising theatre and transcultural dramaturgy. She was on board of the ITI (International Theatre Institute) and has been developing educational courses for the Goethe-Institute India. As a dramaturg and curator she has worked for international festivals like Vienna Festwochen, Theater der Welt and Schwindelfrei Mannheim.



Arahmaiani is one of Indonesia’s most seminal and respected contemporary artists, Arahmaiani has long been internationally recognized for her powerful and provocative commentaries on social, political, and cultural issues. She established herself in the 1980s as a pioneer in the field of performance art in Southeast Asia. Her early performance work started in public area and dealing with social-political issue in the early 80’s  when military regime was controlling and oppressing her country. And later she develop the idea and dealing with environmental issue. Her work has grappled with contemporary politics, violence, critique of capital, the female body and in recent years, her own identity, which although Muslim, still mediates between Islamic, Hindu, Buddhist, and animist beliefs. She often uses her public presence in order to attract attention to violence in general, and violence against women or female discrimination in Indonesia’s Islamic society, in particular. Since September 11, she was combined her critical attitude toward Islam with a fight against its general stigmatization. And since 2010 she has been working with Tibetan monks in Tibet Plateau dealing with environmental issue.

Laura Maria Hänsel was born and raised in Heidelberg, Germany. Having studied acting at the college of music and theatre Leipzig she finished her masters degree in 2010 and has since been working at various state theatres in Germany. Since August 2018 she is part of the Ensemble at ‘Hans Otto Theater’ in Potsdam where here roles include Desdemona in Shakespeare’s „Othello“ or Trudel Baumann in „Every man dies alone“ by Hans Fallada. She has also played various roles in German Cinema and Television. She did make appearances in German Cinema and Television and lives in Potsdam.

Mala Ghedia has been telling stories since she was very young. Growing up in rural Australia to an Indian family of six children, Mala went on to study filmmaking and media at university in Sydney before completing her acting degree at the Webber Douglas Academy of Dramatic Art. She soon became a local in the British theatre scene, performing everywhere from the Royal Shakespeare Company to the West Yorkshire Playhouse. Mala has worked extensively in television, film and theatre in the UK, Australia, USA, India, Switzerland and Germany. In 2017, Mala co-wrote and starred in the award-winning short film, NO MONSTERS IN BERLIN which won accolades in many festivals including in Cannes, New York with special screenings at the United Nations. Mala recently concluded production on RICOCHET, her film directing debut. The film will be completed in November 2019.

Sasapin Siriwanij is a core member of B-Floor Theatre, a leading physical theater company in Bangkok, Thailand, alongside being an independent theatre artist and producer. Since 2011 Sasapin has participated in various movement-based workshops both in Bangkok and Europe in search for her authentic movement, and debuted directorial works with solo performances in 2013. She was awarded Best Performance by a Female Artist in 2017 by the Theater Critics Association Thailand (IACT) for her work Oh! Ode (Oh! What Joy, What Goodness, What Beauty Calls For Ode No.7012), a performance art piece exploring political implications within Thai traditional art forms. With firm beliefs in the power of performing arts and the strength of art makers through connecting and exchanging, Sasapin has also worked as manager and producer for many international collaborative projects for B-Floor Theater. She has also initiated a number of discussion platforms and workshops that aim to nurture the ecosystem of the local performing arts scene which consists of much more than just directors and performers. Sasapin has taken the role of Artistic Director of Bangkok International Performing Arts Meeting (BIPAM) since 2018, and has recently co-founded Producers of Thai Performing Arts Network (POTPAN).



Wukir Suryadi is the product of a unique fusion of ancient Javanese tradition with contemporary music practice. His approach is informed by his rich cultural heritage and unique personal history which has lead him into methods of music experimentation which includes instrument building. The original instrument shaped like a bamboo spear utilizes both percussive strings carved from the bamboo’s skin, and melodic steel strings, bringing together elements of traditional Indonesian instruments with garage guitar distortion. Schooled in the theatre, Wukir Suryadi brings theatrical ruckus to the classical stage, plucking, strumming and bowing his way from peaceful meditations to rhythmical frenzies. The evolution of his music is never complete as he utilizes the agility of his instrument to collaborate with musicians and performance artists from around the world, fluently bridging musical styles and inventing new instruments as he goes.



Katie Pearl “Appreciation”

Hannah Giorgis “Not on my block”

Drew Dellinger “It´s 3:23 in the morning”



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