The COLLaCTIVE was founded in Berlin in 2017 by Rosalin Hertrich and Marc Carrera to further develop a teaching and artistic concept for a possible nowadays Physical Theatre. Sophie Ketteniß joint short after as a teaching support and becoming directly a full member of the COLLaCTIVE. The three of them are currently immersed in an ongoing discussion on the possibilities, directions, formats, spaces and materials of a contemporary physical theatre.

The Network

Physical Theatre Barcelona  |  Samuel Nuñez

Physical Theatre Leipzig  | Cornelia Kloppe


Rosalin Hertrich is a freelance performer and director. She is also teaching theatre, dance and performance.
Since her early childhood, Rosalin has been enthusiastic about dance & theatre and joined regular classes and workshops in different fields of the arts (movement, music, theatre, material arts…). She was studying Theatre- and Media Science from 2003-2009 in Erlangen (D) and Utrecht (NL) and graduated 2013 in a teaching artist theatre program in Nürnberg. 2012-2013 she studied the Stanislawski technique in Nürnberg with Mario de Diago.

During her studies, Rosalin was two years long actress in the german-czech theatre group Cojc Land Ensemble and realized shortly after numerous intercultural theatre projects for young people (she is working in that area until now) and staged pieces at the Experimentiertheater of the University Erlangen.

In 2014, Rosalin moved to Berlin, to study more the expression with the body and to join Tatwerk team for 8 month. There she got to know the Physical Theatre course, taught by the teachers Samuel Nuñez and Marc Carrera and joined their training. 2014 she became teaching assistant in the physical theatre course, 2016 she joined the Company Project Realism, Surrealism and Performance. She is continuously deepening and develher knowledge in physical theatre, contemporary dance, butoh, choreography, yoga, somatic work and other bodily based disciplines which connect body and mind.

In her own performance projects, Rosalin researches bodily expression interdisciplinary. In Tatwerk she already developed and choreographed two performance projects ((DIS)positioned, 2015 – in collaboration with Kathrin Keusch; OUT OF BALANCE, 2016). In these projects she explores sociological and philosophical thoughts and phenomena of contemporary society in a performative-bodily way, to transform them into movement, energy and image. Furthermore, it is her passion to develop site specific performances.

2016/17 she has been collaborating with the Prague based experimantal theatre group Spielraum Kollektiv, 2017 she is performer for Robert Wilson and also creating a new devised physical theatre piece in Berlin.



Sophie Ketteniß is an interdisciplinary theater and dance artist and a studied linguist. Born and raised in Berlin, Sophie developed her first theater plays amongst an intergenerational theater group lead by dance theater pedagogue Elena Bronsert in the city’s eastern periphery. She later participated in youth dance projects run by Faster-Than-Light-Dance-Company: “ZweiNsamkeit” (2009/Theater an der Parkaue) and “Orgel trifft Tanz” (2010/Berliner Dom).
Whilst living in Scotland, she joined a Script Writing class guided by writer Raymond Ross that united a diverse group of local and temporary Edinburghians. Dismantling barriers of language, class, gender and age furthermore inspired her belief in the power of a subaltern community-based approach to theater and storytelling.
From 2014 on, Sophie trained in physical theater, contemporary dance and butoh with Chilean director, actor and choreographer Samuel Nunez in Leipzig and Berlin. In 2016, she gladly took the chance to undertake a Traineeship as director’s assistant with choreographer Constanza Macras/Dorkypark for the production “ALBUM”. From March to December 2016 she was a member of the physical theater company project at Tatwerk Berlin, developing and performing in the production “STEPPE”. In 2017, she started to teach in the Physical Theater class at Tatwerk.
Her personal interest in dance pursues the questions of how to gain insight on a physical level and how to work with the body in order to initiate knowledge.
Besides working as a sign language assistant for deaf school children, she is currently developing her new project “NEBEL” within a performance collective on intergenerational remembering and the transformation of values.



Marc Carrera studied Philosophy at the University of Barcelona. In parallel, he engaged in several political art/protest/action groups of the city starting at the same time his practice in physical theatre, contemporary dance, and Butoh dance. He took part in the three-year-long Transdisciplinary Theatre Workshop led by Derek Fenix, Samuel Núñez & Shaday Larios. Was founder member of two theatre companies: La Quadra Màgica by Pep Riera –political/satirical theatre–, and Microscopía Teatro by Shaday Larios –object/visual/experimental theatre. He also founded the electro-pop-art-band Zink Tank.

Together with Pep Riera, they launched the Espai Navæ, a brick-factory-space entirely dedicated to performing arts which could last only 8 intensive months. Short after its closing in 2008, he decided to leave Barcelona and moved to Berlin to support Samuel Núñez grounding the Tatwerk Berlin.

He took active part in the Tatwerk Ensemble besides to creating own short pieces and collaborating as performer, dancer, and actor in other’s projects. He was part of the Theaterkapelle team both as an actor and a graphic designer for two years. In 2012 – end of 2014, he took over the direction of Tatwerk Berlin and implemented the classes structure and the regular showings and residencies, turning the theatre atelier into an artist-run space for theatre, dance, and performance. In 2013 he was awarded with the Jury Prize in the 100 Grad Festival Berlin Sophiensæle for his dance-theatre piece Tanz Europe Express: the dance of the non-dancers..

In 2017 he has completed his MA in Performance Studies at the University Hamburg. His work is strongly based in the physical and the choreographic, stressing and emphasising the political aspects and the discursive potential of the performative body on stage.