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Choreographer Miriam Rieck and composer Nicolas Berge navigate between musical theater and VR games, installation and performance, new materialism and karaoke with their work under the machine-animal’s tail (AT). In search of the lost voice of the machine animal, visitors become players with the help of their voices and playfully connect with the VR world through real-time audio processing of their input. The voice-focused and musically influenced performance negotiates core themes of new materialism such as relationality, transformativity, and the nomadic subject, inspired by the image of vibrant matter.
In their many years of collaborative work, the duo has been exploring possibilities for transferring mechanisms from game design to artistic practices. They are currently investigating the potentials and strategies that arise in this field of tension for composition, performance, sound, and physicality.
Nicolas Berge
Niche internet genres, remix and pop culture – as a composer and musician, Nicolas Berge seeks the extreme in hybridity. To this end, he develops transmedial setups between VR and music theater and reflects on social reality in the post-digital age. He develops these with choreographers, musicians, and his own ensemble, Kollektiv3:6Koeln.
Miriam Rieck
Miriam Rieck works as a dancer, choreographer, and media artist. From a queer-feminist/technofeminist perspective, she explores approaches to digitality and different concepts of space in order to investigate access to matter, the body, and power structures.
The work under the becoming-animal’s tail (AT) will premiere at the Orbit Festival for Contemporary Music Theater 2026 from April 23-26 at the Alte Feuerwache in Cologne.