In performance at Lambeth Fringe will be a dance double bill head bucket bed by Klaudia Wittmann and Adira by Sarah Hirsch.
Where: Central Film School
When: 13 Oct
Ticket link: https://lambethfringe.com/events/head-bucket-bed
head bucket bed (Klaudia)
What inspired the creation of head bucket bed, and how did you develop your research into the final piece?
The research for head bucket bed began from an interest in experiences of gender and gendered oppression. To explore this curiosity, I looked at bodies in two different areas: women’s gymnastics and hysteria.
I have always been fascinated by the interplay between social structures and the flesh, the ways bodies are experienced, moved and perceived through cultural codes. Head bucket bed is an experimentation with exactly that.
The dancers explore movement vocabularies which come from gymnastics, hysteria as well as their own unique voices, and put them into surreal constellations.
In order to create these languages, the work uses different objects that were central in the choreographic and theatrical research: a head, a bucket and a bed.
The final piece was developed through an amazing interdisciplinary collaboration with sculptor Lara Ritosa-Roberts, composer Alex Roth and dancers George Perez and Silas Grocott-Cain. Their input was invaluable to how the piece unfolded.
Why should audiences come along to the show, and what might they expect?
The show is designed to take the audience on a surreal, dream-like journey where they will encounter experiments, questions and new perspectives on bodies and the ways we are affected by social codes.
Do you find fringe festivals inspiring?
I think fringe festivals are the most exciting opportunity to witness work that dares to experiment, that plays with unconventional methods, and, therefore, offers unique approaches to the performing arts.
What’s next for the show?
We are really excited to have received ACE funding for an international tour with head bucket bed. We will share the work in different venues in the UK as well as abroad including Artsintank Festival in Seoul next year.
We are also planning to expand our educational and community work that we practice alongside the performances.
Adria (Sarah)
What inspired the creation of Adira and how did you develop your research into the final piece?
Adira was inspired by the strong, intelligent women I grew up surrounded by and the deep connections we built together. Those bonds—how they shape us, sustain us, and evolve over time—became the foundation for the piece.
I developed the work through a blend of research, lived experience, and choreographic exploration with the dancers, drawing on improvisation and collaboration to create a performance that reflects both strength and vulnerability, and the unique beauty of female connection.
Why should audiences come along to the show, and what might they expect?
At its heart, Adira is about human connection—something everyone can relate to. While inspired by women and performed by an all-female cast, the work speaks more broadly to resilience, unity, and shared experience.
Through dynamic movement, partnering, and moments of dreamlike choreography, audiences are invited into a captivating world where strength and intimacy collide, offering space to reflect, connect, and be transported.
Do you find fringe festivals inspiring?
Absolutely. I’m always struck by the sheer variety of creativity on display—the inventiveness, risk-taking, and breadth of talent never fail to inspire me.
There’s a real sense of discovery at fringe festivals, and being part of that energy is both motivating and affirming as an artist.
What’s next for the show?
I’m currently applying for Arts Council England funding to develop Adira into a longer work featuring a larger ensemble of dancers.
The ambition is to expand the scope and impact of the piece and, ultimately, bring it to the Edinburgh Fringe Festival in 2026 and hopefully tour it around the UK.