The term tipping point means a point or a moment at which a previously linear development stops suddenly, changes its direction or accelerates enormously (“qualitative tipping point”).
This term was used at first in 1957 by Morton Grodzins in a study about racial segregation. It was then developed by the US-American economist Thomas Schelling. Recently the term is frequently used in connection with models of climate. Scientists assume that there are tipping points in the development of climate (e. g. changes in the transport of heat by flows of water or air) which cause dramatic change in climate within a very short period.
In 2000 Malcolm Gladwell published the book “The Tipping Point – How Little Things Can Make A Big Difference) and popularized it.
club tipping point
club tipping point is the title of a group of independent artists that formed in 2007 and seeks to express and introduce new points of view about the contemporary situation by interdisciplinary work.
Our fields of work are art, discourse/language and performance/theatre. We unite artists from the fields of music, visual and performing arts and architecture, but also people from fields like philosophy, politics and medicine.
club tipping points organizes exhibitions, lectures and performances, but also informal meetings and forums comparable to workshops.
A key aspect of our concept is the work within spaces that are characterized by their specific permeability and thus allow to mirror and communicate the „inner“, intended and produced happenings into the urban space/public space. The extension emerging out of this creates a new quality of space. Likewise the phenomena of public space – shaped by dynamic and paradox situations – are to be experienced spontaneously, to penetrate the produced inner world and to disturb and change it.
Our intention is to generate phenomena of transformance, i. e. actions between general options and their putting into practice and to analyse them at the same time. In that way, we understand performative events also as a research of events.
Head oft he group is Christoph M. Gosepath
Christoph Gosepath – Doctor and Director
(…) The director Christoph Gosepath is also a doctor, sometimes both at a time, sometimes alternating. Born in 1961, he got a master’s degree in philosophy and literary studies, followed by another degree in medicine. The fledgling Doctor, however, was neither working in a hospital nor in an office of his own in the 1990ies, but at the theatre exclusively fo seven years: as an assistant director of Robert Wilson at the Berliner Schaubühne, of Peter Stein at the Salzburg festival, of Leander Haussmann at the Schauspielhaus Bochum.
Among the various stagings of his own (Lessing, Sartre, Kroetz as well as projects at home and abroad), some attract attention by their issues: “Sexual Neuroses of our Parents” of Lukas Barfuss and “The Case of Schreber” after the “memorabilities of a mentally ill person“ by the doctor and inventor of the “Schrebergärten” (garden plots). For it was not an accident that they were performed during Goespath’s qualification to become a specialist on psychiatry and psychotherapy, a period quite prolonged due to his theatre work. Most of this qualification he completed in the Protestant Hospital Königin Elisabeth Herzberge, where he afterwards became head of the ward for psychotherapy within the department of psychiatry and psychotherapy – for a short time only, because he needed space – play time – for the theatre, his passion. As a consequence, he became a freelancer: as a psychotherapist in behavioural therapy, as a doctor for shortages at night and at weekends, as a lecturer at the Berliner Akademie für Gesundheit and at the Wannsee-Akademie.
Christoph Gosepath, as a director, discovers many parallels between working with patients and with actors: you have to empathise with every one of them as an individual to lead them to success. -> see complete article
(Rosemarie Stein in: Berliner Ärzte 9/2013, p. 34)
Tipping Point e.V.
club tipping point is sponsored by Tipping Point e.V., by donors – for whose commitment we explicitly give thanks – by public fonds for the fostering of arts and culture as well as by theatres and public instutions who both promote single projects.