Irina-Simona Bârcă is a dramaturge and mediator. Born and raised in Romania, she studied acting in Bucharest and theater pedagogy at Osnabrück University of Applied Sciences. After working in Münster and Berlin, she was a dramaturge at the FFT (Forum Freies Theater) in Düsseldorf from 2017 to 2024, where she was responsible for the Young FFT section, including the programmatic focus "The Theater of Digital Natives". She has worked with pulk fiktion, Ives Thuwis, subbotnik, Leute wie die, machina eX and PINSKER + BERNHARDT, among others. She is part of various juries in German-speaking countries (Spielarten NRW, kicks! Theaternetzwerk Schweiz, Landesbüro freie darstellende Künste NRW) and was a member of the board of trustees at the Augenblick mal! 2021. As a lecturer, she gives seminars and training courses. Since January 2024, she has been Head of Artistic Mediation and Participation at Theater an der Parkaue.

Sarah Fartuun Heinze is a Black(-gender-)Queer*Feminist; (wage) works as a freelance artist & author & cultural educator:multiverse(neurodiverse) &/ world changer:with theatre, games, Music and Empowerment, sees itself as an aesthetic researcher, is part of the Creative Gaming initiative and the Neue Deutsche Medienmacher.

Whether as a theater maker*, aesthetic researcher*, theater game designer*, musician*, as part of the Creative Gaming initiative or the New German Media Makers, as an author*, dramaturg* or cultural educator*: digital and analogue Basically, games have always moved Sarah Fartuun Heinze – and still do.

Her favorite game is: Zelda: Ocarina of Time, probably because the key to most of the puzzles is the music. As so often, far away from screens and (theater) stages.

Micha Kranixfeld works as an artist and cultural scientist. He is a member of the syndicate Gefährliche Liebschaften (Dangerous Liaisons) and the Frl. Wunder AG (Miss Wunder AG), with whom he develops research-based art projects in social fields. In the process, he creates wanderings into the future of work, colorful evenings about meat, or radio plays about the queerness of rural spaces. As a cultural scientist, Micha Kranixfeld conducts research at the University of Koblenz on social art in rural areas and images of rural diversity.

Beata Anna Schmutz was born in Gdansk, Poland in 1975. After studying German at the University of Gdańsk, she continued her university education in the subjects of art history, educational science and literature at the Ruprecht Karls University in Heidelberg. She is the artistic director of numerous theater, art and media education projects and was a cultural education employee at the Haus der Jugend Heidelberg from 2005 to 2016, where she headed the art and theater departments. Freelance director and dramaturg since 2006, university lecturer in the fields of aesthetic education, post-dramatic theater and performance. In 2005 she founded the theater and performance group RAMPIG, where she works as a director and dramaturg. From 2016 to 2018 she was head of the Volkstheater department at the Badisches Staatstheater Karlsruhe. Since 2018 she has been directing the Mannheim City Ensemble at the National Theater Mannheim. Member of the board of the Dramaturgical Society since 2016.

Irina-Simona Bârcă is a dramaturge and mediator. Born and raised in Romania, she studied acting in Bucharest and theater pedagogy at Osnabrück University of Applied Sciences. After working in Münster and Berlin, she was a dramaturge at the FFT (Forum Freies Theater) in Düsseldorf from 2017 to 2024, where she was responsible for the Young FFT section, including the programmatic focus "The Theater of Digital Natives". She has worked with pulk fiktion, Ives Thuwis, subbotnik, Leute wie die, machina eX and PINSKER + BERNHARDT, among others. She is part of various juries in German-speaking countries (Spielarten NRW, kicks! Theaternetzwerk Schweiz, Landesbüro freie darstellende Künste NRW) and was a member of the board of trustees at the Augenblick mal! 2021. As a lecturer, she gives seminars and training courses. Since January 2024, she has been Head of Artistic Mediation and Participation at Theater an der Parkaue.

Sarah Fartuun Heinze is a Black(-gender-)Queer*Feminist; (wage) works as a freelance artist & author & cultural educator:multiverse(neurodiverse) &/ world changer:with theatre, games, Music and Empowerment, sees itself as an aesthetic researcher, is part of the Creative Gaming initiative and the Neue Deutsche Medienmacher.

Whether as a theater maker*, aesthetic researcher*, theater game designer*, musician*, as part of the Creative Gaming initiative or the New German Media Makers, as an author*, dramaturg* or cultural educator*: digital and analogue Basically, games have always moved Sarah Fartuun Heinze – and still do.

Her favorite game is: Zelda: Ocarina of Time, probably because the key to most of the puzzles is the music. As so often, far away from screens and (theater) stages.

Micha Kranixfeld works as an artist and cultural scientist. He is a member of the syndicate Gefährliche Liebschaften (Dangerous Liaisons) and the Frl. Wunder AG (Miss Wunder AG), with whom he develops research-based art projects in social fields. In the process, he creates wanderings into the future of work, colorful evenings about meat, or radio plays about the queerness of rural spaces. As a cultural scientist, Micha Kranixfeld conducts research at the University of Koblenz on social art in rural areas and images of rural diversity.

Beata Anna Schmutz was born in Gdansk, Poland in 1975. After studying German at the University of Gdańsk, she continued her university education in the subjects of art history, educational science and literature at the Ruprecht Karls University in Heidelberg. She is the artistic director of numerous theater, art and media education projects and was a cultural education employee at the Haus der Jugend Heidelberg from 2005 to 2016, where she headed the art and theater departments. Freelance director and dramaturg since 2006, university lecturer in the fields of aesthetic education, post-dramatic theater and performance. In 2005 she founded the theater and performance group RAMPIG, where she works as a director and dramaturg. From 2016 to 2018 she was head of the Volkstheater department at the Badisches Staatstheater Karlsruhe. Since 2018 she has been directing the Mannheim City Ensemble at the National Theater Mannheim. Member of the board of the Dramaturgical Society since 2016.

Katharina Warda ist Soziologin und Literaturwissenschaftlerin. Warda arbeitet als freie Autorin mit Schwerpunktthemen Ostdeutschland, marginalisierte Identitäten, Rassismus, Klassismus und Punk. Seit 2021 ist sie Beiratsmitglied von „Kein Schlussstrich!“, einem bundesweiten Theaterprojekt zum NSU-Komplex. In ihrem Projekt Dunkeldeutschland erkundet sie die Nachwendezeit von den sozialen Rändern aus und beleuchtet blinde Flecken in der deutschen Geschichtsschreibung, basierend auf ihren eigenen Erfahrungen als Schwarze ostdeutsche Frau in der DDR und nach 1989/90.

Irina-Simona Bârcă is a dramaturge and mediator. Born and raised in Romania, she studied acting in Bucharest and theater pedagogy at Osnabrück University of Applied Sciences. After working in Münster and Berlin, she was a dramaturge at the FFT (Forum Freies Theater) in Düsseldorf from 2017 to 2024, where she was responsible for the Young FFT section, including the programmatic focus "The Theater of Digital Natives". She has worked with pulk fiktion, Ives Thuwis, subbotnik, Leute wie die, machina eX and PINSKER + BERNHARDT, among others. She is part of various juries in German-speaking countries (Spielarten NRW, kicks! Theaternetzwerk Schweiz, Landesbüro freie darstellende Künste NRW) and was a member of the board of trustees at the Augenblick mal! 2021. As a lecturer, she gives seminars and training courses. Since January 2024, she has been Head of Artistic Mediation and Participation at Theater an der Parkaue.

Juliane Barz studied educational science and theater studies in Hildesheim and trained as a theater pedagogue (BuT) in Berlin. Most recently, she was employed at the Puppentheater Magdeburg for four years. Since September 2022, she has been working as a freelance theater mediator, director and production/project manager - including for the BANDE '23 format at Schauspielhaus Magdeburg and for the Moritzhof's socio-cultural district project "#moritz4all". In her work, she constantly explores new interfaces with other arts and media as well as new forms, formats and spaces and negotiates sustainable topics using a research-based and empowering approach. She is also involved as a spokesperson for the Arbeitskreis Ost for children's and youth theater, as part of the Adultism working group and on the Magdeb Cultural Advisory Boardurg.

Katrin Breschke studied German, Romance languages and literature and philosophy at the TU Dresden and then dramaturgy at the Hessian Theater Academy. She worked as a dramaturg at the Theater und Philharmonisches Orchester Heidelberg, at the state theaters in Nuremberg and Braunschweig and most recently at the Staatsschauspiel Dresden. From 2017 to 2020, she was a member of the Performing Arts Working Group at the Office for Culture and Monument Protection of the City of Dresden. Since 2020, she has been one of three project managers at FLUX - Netzwerk Theater und Schule, a program to promote cultural participation in rural areas in Hesse. She also works as a freelance dramaturg at the Stadttheater Ingolstadt and the Hessisches Landestheater Marburg, among others. For the 2022 and 2023 festival editions of the Hessian Children's and Youth Theater Week KUSS at the Landestheater Marburg, she was part of the selection committee for the productions of the AK-Südwest.

Tessa Hart has been a culture maker and culture changer in the performing arts, film, community work and socio-cultural fields for over 15 years, working across interfaces and boundaries. Since July 2024, Tessa Hart has been a consultant for qualification programs at kultur_formen (Berlin Project Fund for Cultural Education). In addition, Tessa Hart's ongoing activities range from curation and participation in selection committees, such as at the Max Ophüls Preis film festival since 2020, to mediation and educational work, to artistic direction of the collective company Goblin Baby Co. since 2013. Previously, Tessa was project manager and artistic director of AfroPolitan Berlin from 2020 to 2024, co-founder and artistic and managing co-director of the Bread & Roses Theatre in London from 2012 to 2022 and has contributed to seven book publications since 2018. Born in the GDR, raised near Berlin and in Brussels, Tessa Hart lived in London for almost a decade and has been back in Berlin since 2018. Throughout all of this, Tessa Hart has navigated very intersectional worlds of experience, with expertise critical of power and discrimination as well as a commitment to equal opportunities and cultural reflection on actual social realities always being a leitmotif.

Christopher Weymann (he/him) is a queer-feminist performer, computer scientist and theater maker for a transgenerational audience. At FUNDUS THEATER / Forschungstheater in Hamburg, he realizes projects and productions in co-creation with children and young people in the field of tension between society, science and art. With the preamble "Everything that is binary must be hacked!" he develops digital instruments and theater prototypes for the participatory deconstruction of heteronormative, classist and adultist power systems.

Irina-Simona Bârcă is a dramaturge and mediator. Born and raised in Romania, she studied acting in Bucharest and theater pedagogy at Osnabrück University of Applied Sciences. After working in Münster and Berlin, she was a dramaturge at the FFT (Forum Freies Theater) in Düsseldorf from 2017 to 2024, where she was responsible for the Young FFT section, including the programmatic focus "The Theater of Digital Natives". She has worked with pulk fiktion, Ives Thuwis, subbotnik, Leute wie die, machina eX and PINSKER + BERNHARDT, among others. She is part of various juries in German-speaking countries (Spielarten NRW, kicks! Theaternetzwerk Schweiz, Landesbüro freie darstellende Künste NRW) and was a member of the board of trustees at the Augenblick mal! 2021. As a lecturer, she gives seminars and training courses. Since January 2024, she has been Head of Artistic Mediation and Participation at Theater an der Parkaue.

Juliane Barz studied educational science and theater studies in Hildesheim and trained as a theater pedagogue (BuT) in Berlin. Most recently, she was employed at the Puppentheater Magdeburg for four years. Since September 2022, she has been working as a freelance theater mediator, director and production/project manager - including for the BANDE '23 format at Schauspielhaus Magdeburg and for the Moritzhof's socio-cultural district project "#moritz4all". In her work, she constantly explores new interfaces with other arts and media as well as new forms, formats and spaces and negotiates sustainable topics using a research-based and empowering approach. She is also involved as a spokesperson for the Arbeitskreis Ost for children's and youth theater, as part of the Adultism working group and on the Magdeb Cultural Advisory Boardurg.

Katrin Breschke studied German, Romance languages and literature and philosophy at the TU Dresden and then dramaturgy at the Hessian Theater Academy. She worked as a dramaturg at the Theater und Philharmonisches Orchester Heidelberg, at the state theaters in Nuremberg and Braunschweig and most recently at the Staatsschauspiel Dresden. From 2017 to 2020, she was a member of the Performing Arts Working Group at the Office for Culture and Monument Protection of the City of Dresden. Since 2020, she has been one of three project managers at FLUX - Netzwerk Theater und Schule, a program to promote cultural participation in rural areas in Hesse. She also works as a freelance dramaturg at the Stadttheater Ingolstadt and the Hessisches Landestheater Marburg, among others. For the 2022 and 2023 festival editions of the Hessian Children's and Youth Theater Week KUSS at the Landestheater Marburg, she was part of the selection committee for the productions of the AK-Südwest.

After completing his master's degree in theater pedagogy at the Berlin University of the Arts in 2012, Nils Deventer worked for the Schauspielhaus Hamburg, the Junges Schauspielhaus Düsseldorf and the Theater an der Parkaue Berlin. During this time, he gained extensive experience in the curation, conception and realization of participatory projects and participation formats of various types and sizes. After his projects increasingly dealt with topics of the digital world, he moved to medialepfade.org e.V. in 2021, where he is now part of the management team for the nationwide educational program "Jugend hackt".

Tessa Hart has been a culture maker and culture changer in the performing arts, film, community work and socio-cultural fields for over 15 years, working across interfaces and boundaries. Since July 2024, Tessa Hart has been a consultant for qualification programs at kultur_formen (Berlin Project Fund for Cultural Education). In addition, Tessa Hart's ongoing activities range from curation and participation in selection committees, such as at the Max Ophüls Preis film festival since 2020, to mediation and educational work, to artistic direction of the collective company Goblin Baby Co. since 2013. Previously, Tessa was project manager and artistic director of AfroPolitan Berlin from 2020 to 2024, co-founder and artistic and managing co-director of the Bread & Roses Theatre in London from 2012 to 2022 and has contributed to seven book publications since 2018. Born in the GDR, raised near Berlin and in Brussels, Tessa Hart lived in London for almost a decade and has been back in Berlin since 2018. Throughout all of this, Tessa Hart has navigated very intersectional worlds of experience, with expertise critical of power and discrimination as well as a commitment to equal opportunities and cultural reflection on actual social realities always being a leitmotif.